Collections

The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The album (35.5 x 29 cm) has pebbled covers with partial leather bindings and "Photographs" stamped on the front cover and contains around 250 photographs of various sizes and formats, including collodion, gelatin silver, platinum, silver platinum and albumen prints, cyanotypes, and snapshots. The spine and edges show considerable wear. The photographs chronicle three periods in Admiral Mead's naval career: his time as lighthouse inspector in the Great Lakes, and his assignments as commandant of the Newport, Rhode Island naval base and Portsmouth Naval Shipyard in Kittery, Maine. Additionally, there is at least one photograph towards the front of the album from the Lomaland School in San Diego as well as a series of others mostly located towards the back of the album that were taken in an unidentified tropical location (possibly Florida).

Some of the album’s captions, primarily in beginning and the lighthouse section, appear to have been first added when it was originally assembled and many are partially erased. The majority of captions, however, were contributed at a later date by Admiral Mead’s niece, Annie Adelia Mead Ferguson. Annie appears to have come into possession of the album at some point and added her own annotations identifying people and places she recognized in the photographs. She also added a handwritten note to the inside of the album’s front cover in 1970 indicating that the album had once “belonged to William Whitman Mead” before explaining that she captioned certain images herself and speculating on which of her children might want to inherit the album. It is unclear who originally took many of the photographs, though there are indications that Annie's mother Unadilla Gazlay Mead may have contributed some material. One photograph on pg. 32 shows Unadilla and her husband Omar C. Mead, Admiral Mead’s brother, posing together on a dock in either Portsmouth or Newport while the former can be seen holding a camera in her hands, while on pg. 44 there is a self-portrait taken in a mirror of a woman with a camera that appears to be Unadilla.

The album provides extensive documentation of lighthouses along the shores of Lakes Superior and Huron in the mid-1890s, as well as views from Great Lakes locations such as Duluth, Copper Harbor, and the locks at Sault Ste. Marie. Specific lighthouses represented include Seul Choix Light, Old Mackinac Point Lighthouse, Sand Island Lighthouse, Huron Island Lighthouse, Isle Royale Light, an abandoned lighthouse on Isle Royale, a pair of unidentified lighthouses possibly located in the Keweenaw Peninsula, Windmill Point, a lighthouse in St. Clair Flats, Gull Rock, Stannard’s Rock, Rock Harbor Light, and other unidentified structures. Images related to Admiral Mead’s time at the Newport naval base include portraits of Mead both in and out of uniform, portraits of family members such as Julia Mead, a collotype postcard of Trinity Church, and various buildings and street scenes. Images related to Admiral Mead’s time at Portsmouth Naval Shipyard include views of the Commandant’s house, “The Admiral’s Yacht,” and portraits of various individuals including John W. Yerkes, Elizabeth O. Yerkes, Amelia R. Yerkes, Annie Meade Matthews, Omar C. Mead, and Annie Adelia Meade as a young child. Of particular interest are a number of candid shots of locations and participants in the Portsmouth peace talks that ended the Russo-Japanese War in 1905 (including several photographs of three unidentified Japanese men described as “servants” in one caption) that are present on pgs. 30, 36, 37, and 39. While most of the ships that appear in the album are unidentified, identified vessels include the passenger steamer North Land on pg. 16 and the lighthouse tender Marigold on pg. 23. Other individuals identified by caption include Robert A. Watts (Admiral Mead’s brother-in-law) and Margaret A. Watts (Admiral Mead’s mother-in-law). Also present are three outdoor portraits of unidentified African American men and women on pg. 21 captioned “Those good ole’ days!!” and “Same good ole days!” as well as a cyanotype of an unidentified African American girl on pg. 48.

The Augustus J. J. Thibaudeau family photograph album contains approximately 308 photographs and 4 manuscript items related to the family and friends of Augustus J. J. Thibaudeau, a prominent lawyer based in Niagara Falls, New York, and a representative of the Photo-Pictorialist movement in photography.

The Augustus J. J. Thibaudeau family photograph album contains approximately 308 photographs and 4 manuscript items related to the family and friends of Augustus J. J. Thibaudeau, a prominent lawyer based in Niagara Falls, New York, and a representative of the Photo-Pictorialist movement in photography.

The album (26 x 31 cm) has black cloth covers with “Snap Shots” embossed in silver on the front. The 4 loose manuscript items are contained in a Mylar enclosure at the beginning of the album and include two letters from Marie Thibaudeau written to her mother and father while abroad in England in 1923; a booklet made of faux-bark paper containing a watercolor illustration and poem about fishing titled “Stower’s Fish”; and a hand-written recipe booklet containing 18 recipes for various dishes.

Around 111 loose photographs of various sizes and formats are also contained in a Mylar enclosure and mostly include individual and group portraits (both indoors and outdoors), natural landscape views, and images of homes. A small percentage of these photographs have captions on their versos, including some that identify subjects. Of the loose photographs, images of interest include a group portrait of young women at Wellesley College in 1918 during their freshman year; portraits of Marie Thibaudeau, including several showing her posing with her beloved dog Sam-Sam; snapshots taken during a trip to Rome in 1932; and numerous images showing exterior views of houses as well as swimming, fishing, boating, and other outdoor activities taking place near the Thibaudeau family cottage on the Georgian Bay in Ontario.

Approximately 197 photographs are pasted into the album proper. A number of these photographs are partially unglued and in some cases writing on their versos is accessible. The album has many photographs showing waterfront summer vacation scenes from what appears to be different trips to the family cottage over a span of several years; some of these images in the front end of the album have inscriptions on their versos which indicate those photographs were taken in August 1910 by “D.B.” Other images of note include a picture showing a group of young women in a large sleigh with the verso caption reading “Marie Thibaudeau ΖΣΕ Jan, 24, 1912”; a pair of photographs showing siblings Kenneth Fraser Allan and Dorothy Elizabeth Allan when aged 3 and 6 respectively; two group portraits of young men in military uniforms standing in formation; photographs taken at Wellesley College showing buildings, students, campus scenes, large group activities, and a commencement ceremony; two photographs of a biplane mid-flight; and a series of interior views of an unidentified home that appears to have a menorah above the fireplace.

The Bonynge family photograph collection consists of ten photograph albums and approximately 600 loose photographs pertaining to the Bonynge family of New Jersey. The albums center on Henry Arthur Bonynge Jr., M.D., his wife Elizabeth and daughter Marjorie. Images include snapshots of family life in the northeastern United States, trips to Wyoming, El Salvador, Bermuda, Cuba, and Europe.

The Bonynge family photograph collection consists of ten photograph albums and approximately 600 loose photographs pertaining to the Bonynge family of New Jersey. The albums center on Henry Arthur Bonynge Jr., M.D., his wife Elizabeth and daughter Marjorie. Images include snapshots of family life in northeastern United States, trips to Wyoming, El Salvador, Bermuda, Cuba, and Europe. The albums are roughly arranged in chronological order while the loose photographs are organized by location.

Volume One: The Bonynge family Hoboken album (27.25 x 36.25 cm, lacks covers) contains approximately 90 snapshots of Henry Bonynge Jr.'s family when he was a young man. A majority of these images are dated from 1898-1901 and were taken at 931 Washington Street in Hoboken. Images of note include domestic interior views, a Christmas tree, charming casual portraits, street snapshots, photographs of Henry Bonynge Sr.’s sister Florence graduating from high school, an October 1899 trip to visit landmarks in New York City, and visits to the Jersey Shore.

Volume Two: The Christ Church Hospital, Jersey City album (26.5 x 30.5 cm, black leather cover with gilt title) contains approximately 30 professional quality photographs related to Henry Bonynge Jr.'s medical internship in 1906-1907. There are several carefully composed views of hospital exteriors, interiors, equipment, and staff in uniform. Of note is a view across Hoboken rooftops, the Hudson River, to New York City. Also a fine image of the hospital kitchen and staff. Includes one card photograph of employees with a stretcher in front of a hospital ambulance.

Volume Three: The Bonynge family early snapshots album (26.75 x 36.75 cm, black leather cover in poor condition) contains approximately 400 photographs documenting Henry and Elizabeth Bonynge's early years of marriage as well as Marjorie's infancy. Images of interest include photographs of daily life and family trips from 1910 to 1917 in the Bahamas, Bermuda, Lake Waramaug (Connecticut), Prince Edward Island, Lake George (New York), Newport, Rhode Island, Maine, Atlantic City, New Jersey and Mount Vernon, Virginia. Includes notable images of recreational activities, early automobile travel, horseback riding, construction of the Prospect Street house in Ridgewood, New Jersey, and a July 4th parade. Later notes from Susan B. Strange identify many individuals represented in the album in addition to captions written by Elizabeth and/or Henry.

Volume Four: The Bonynge family snapshots album (27.25 x 36.75 cm, black leather cover, poor condition) contains approximately 250 photographs of Henry, Elizabeth and Marjorie. While some of the images included in this album were taken in 1911, most date to ca. 1918-1925. Images of interest include photographs of Marjorie as a young child riding horses (including ‘Lightning’, a Shetland Pony), trips to Niagara Falls, Quebec, and Lake George in 1921, a trip to Mohonk Mountain House in New Paltz, New York in 1922 and a pictures from a "Charley trip," possibly to Wyoming.

Volume Five: The New Preston, Ridgewood, and Nantucket album (24.25 x 36.75 cm, black leather cover) contains approximately 45 high quality photographic prints of people and places in New Preston, Connecticut, and Nantucket, Massachusetts as well as the family home in Ridgewood, New Jersey. There is a partial index for the album which was likely filled out by Marjorie. Images of note include Elizabeth and Marjorie with a pony in 1918, interior photographs of the house at 107 Prospect Street and ten photographs of Nantucket.

Volume Six: The Marjorie Bonynge childhood album (19 x 29.25 cm, black leather cover) contains approximately 40 photographs, including numerous portraits of people and of Marjorie as a child from 1920-1929. Of note is an image of children dressed for a Halloween party.

Volume Seven: The Bonynge European travel album (23.5 x 35.5 cm, black leather cover) contains approximately 70 photographs of a Atlantic crossing aboard the U.S.S. Minnetonka in 1925. The photographs focus on Cherbourg (France), Edinburgh (Scotland), Stratford-upon-Avon, (England), and Volendam (the Netherlands). Images of interest include several views of Henry Bonynge Jr.'s mother's home in Bath, England.

Volume Eight: The Bonynge Wyoming trips album (23.5 x 35.5 cm, black leather cover) contains approximately 65 photographs of a family trip to the Fred Richard Ranch near Cody, Wyoming in 1922. Images include views of hunting, mountain vistas, and horseback riding. There are also copies of three newspaper clippings describing Henry Bonynge Jr.'s near death experience on the trip while hunting.

Volume Nine: The Bonynge Nantucket trips album (23.5 x 35.5 cm, black leather cover) contains approximately 150 photographs of two trips to Nantucket in 1923 and 1924.

Volume Ten: The Bonynge Yellowstone trip album (24.25 x 36.75 cm, black leather cover) contains approximately 150 photographs of a trip to Yellowstone National Park and Shoshone Canyon ca.1920-1922. Notes have been added by both Susan B. Strange and likely Henry Bonynge Jr. Images of interest include photographs of a ranch and horseback riding in an unmarked location, probably near Cody, Wyoming.

The 600 loose photographs in this collection are stored in 11 separate envelopes and have been sorted according to the location they were taken. The majority of these images were taken during a number of family vacations during the 1930s. There are several images that are duplicates of photographs that appear in the albums.

Envelope One and Envelope Two contain approximately 60 images of family, pets, school groups and Ridgewood and Hoboken, New Jersey.

Envelope Three contains approximately 30 images of a cruise to what appears to be Bermuda.

Envelope Four contains approximately 38 images of horses and views of locations in Kentucky.

Envelope Five contains approximately 70 images of multiple trips to Salmon, Idaho. Photographs document the Bonynge family partaking in horseback riding and rodeo at a friend's ranch.

Envelope Six contains approximately 80 images of trips to various locations in the United States from 1936 until ca. 1940. The images have been separated by note cards with locations and dates.

Envelope Seven contains approximately 60 images of a trip taken by Marjorie in March of 1937 to El Salvador and Central America in order to visit a friend from high school named Eva Duke.

Envelopes Eight and Nine contain approximately 170 images from a 1937 Caribbean Cruise aboard the S.S.Quirigua. Many of the images depict Havana, Cuba.

Envelope Ten contains approximately 58 images from a number of unidentified places as well as two photographs from a 1932 trip to Venice, Italy.

Envelope Eleven contains approximately 45 images of unidentified people. Some images appear to be from ca. 1900, though most of the photographs are of friends or neighbors of the Bonynge family in the 1930s.

This collection consists of photographs of Boston, Massachusetts, and other New England towns, taken around the turn of the 20th century. The collection includes pictures of commercial and municipal buildings, battleships, and city landmarks.

This collection consists of photographs of Boston, Massachusetts, and other New England towns, taken around the turn of the 20th century. The collection includes pictures of commercial and municipal buildings, battleships, and city landmarks.

Large format photographs show a variety of Boston scenes, including commercial streets and buildings, harbor views, waterfront parks, the USS Hartford and USS New York, a streetcar station and tracks, a horse-drawn firefighting ladder truck, and a crowd waching the launch of an unrigged yacht in Boston Harbor. Buildings depicted include Faneuil Hall, the Jordan Marsh department store, and the U.S. Customhouse. A scene on the Boston Common shows the statue of George Washington being decorated, with a crowd of pedestrians including a Civil War veteran wearing a uniform with medals. Also included is a photograph of the Witch House in Salem, Mass., former residence of Joseph Corwin, a judge at the Salem witch trials; and a collision of two locomotives with a photographer on the scene, possibly staged. The first image (10cm x 14.5cm), an overhead view of Charlestown and the Bunker Hill Monument, is affixed to a wall calendar for the year 1884; all of its removable monthly pages are still intact. The calendar was presented with "Compliments of Annie T. Smith."

The Boston, Revere Beach & Lynn Railroad photograph album consists of 43 photographs taken in various locations in Massachusetts most likely along the Boston, Revere Beach & Lynn Railroad line.

The Boston, Revere Beach & Lynn Railroad photograph album consists of 43 photographs taken in various locations in Massachusetts most likely along the Boston, Revere Beach & Lynn Railroad line. The album (39 x 29 cm) is hardbound with a green cover. Images include views of urban street scenes in several Massachusetts towns, including Lynn; railroad passenger stations; a trolley car; street car tracks; the Bay State House in Worcester, Massachusetts; various storefronts; a locomotive with a plow attachment; numerous horse-drawn carriages; a sign stating "Railroad crossing. Look out for the engine while the bell rings."; a woman identified by a handwritten caption as "Louise" posing outside of a carriage stable; and what appears to be either two horse cars or two electric automobiles parked on a street.

The Brearley-Pingree collection consists of approximately 166 autographed photographs of notable individuals that were originally compiled by Detroit-based newspaperman William H. Brearley and later added to by Detroit mayor and Governor of Michigan Hazen S. Pingree. In addition to the photographic materials, 36 manuscript items and two bound volumes are also included in the collection.

The Brearley-Pingree collection consists of approximately 166 autographed photographs of notable individuals that were originally compiled by Detroit-based newspaperman William H. Brearley and later added to by Detroit mayor and Governor of Michigan Hazen S. Pingree. An additional 36 manuscript items and 2 bound volumes are also included in the collection.

The collection appears to have been first started by Brearley during the mid-1860s, possibly during or immediately after his Civil War service. He seems to have solicited the autographs of a variety of famous individuals (including authors, performers, musicians, scientists, spiritual leaders, politicians, foreign rulers, and military officers) primarily by mailing them photographs of themselves and requesting their signatures. Possession of the collection appears to have been transferred to Pingree at some point, and he continued to make further contributions. Pingree’s daughter Hazel retained possession of the collection after her father’s death before eventually donating it to the Clements Library. All components of the collection are stored together in one box.

While most portraits in the collection are original studio photographs taken by a variety of photographers including Mathew Brady and Napoleon Sarony, a relatively small number of photographic reproductions of non-photographic portraits are also present (including depictions of James Monroe, Stonewall Jackson, and Henry and Clara Ford).

Volume 1: Brearley collection reproduction souvenir album

This album (16.5 x 15 cm) has green leather covers with lines of poetry from Henry W. Longfellow’s A Psalm of Life stamped in gold on the front. An index included at the beginning lists the names of 96 individuals represented across the album’s 24 pages. After the index, a passage written by William H. Brearley and dated August 1st 1874 explains that he created a limited number of facsimile copies of his original autographed portrait collection at the “urgent solicitation” of many interested friends. Brearley also explains that he acquired the original photographs and autographs in his collection “by long and patient effort, & tending over a period of ten years, and involving an expense of several Hundred dollars.” Subsequent album pages each contain four individually pasted 5.5 x 4 cm albumen print photographic reproductions of original portraits found in Brearley’s collection. This item was acquired from a separate source and was not part of the original collection of materials donated to the Clements Library by Hazel Hope Pingree Mills.

Volume 2: Brearley-Pingree collection original album

This album (30 x 26 cm) has brown leather covers and the words “Portraits. Autographs” and “Brearley” stamped in gold on the spine. The original autographed portraits of the Brearley-Pingree collection were once housed in this album before Clements Library staff removed the original photographs and substituted them with photocopies in 2010 for conservation and preservation purposes. Manuscript captions were also added by Clements Library staff. The original photographs are housed separately in smaller boxes and have been arranged according to size/format and ordered alphabetically by subject surname. See below for a complete list of photographic subjects contained in each box.

Of additional interest are three manuscript items, including the clipped signature of Hyacinthe Loyson and an October 15th 1873 letter from Henry W. Longfellow containing the same lines of poetry from A Psalm of Life that appear on the cover of the Brearley collection souvenir album. Also present is a letter from Buckingham Palace sent to Brearley in 1873 by Sir Thomas Biddulph explaining that the “enclosed Photograph” of Queen Victoria is being returned but that “The Queen’s Autograph is never given away.” Three wax seals are also included in the volume including an “Imperial Chancellor’s seal” (associated with a portrait of Otto von Bismarck); “the Napoleon Seal” (associated with a portrait of Jérôme Bonaparte); and a Great Seal of the Realm attached to the 1873 letter from Buckingham Palace.

Box 1.1: Brearley-Pingree collection cartes de visite, A-E

This box contains 47 cartes de visite. Represented individuals include the following:

• Adams, Charles Francis, 1807-1886.
• Agassiz, Louis, 1807-1873.
• Alcott, Louisa May, 1832-1888.
• Anderson, Richard Heron, 1821-1879.
• Anderson, Robert, 1805-1871.
• Anthony, Susan B. (Susan Brownell), 1820-1906.
• Bancroft, George, 1800-1891.
• Barnum, P. T. (Phineas Taylor), 1810-1891.
• Barrett, Lawrence, 1838-1891.
• Beauregard, G. T. (Gustave Toutant), 1818-1893.
• Beecher, Henry Ward, 1813-1887.
• Billings, Josh, 1818-1885. [Henry Wheeler Shaw]
• Birney, David Bell, 1825-1864.
• Bishop, Anna, 1810-1884. [Anna Riviere Schultz]
• Bismarck, Otto, Fürst von, 1815-1898.
• Bonaparte, Jérôme, King of Westphalia, 1784-1860.
• Bonner, Robert, 1824-1899.
• Booth, Edwin, 1833-1893.
• Breckinridge, John C. (John Cabell), 1821-1875.
• Bright, John, 1811-1889.
• Bryant, William Cullen, 1794-1878.
• Buchanan, James, 1791-1868.
• Bülow, Hans von, 1830-1894.
• Bunker, Chang, 1811-1874. [in portrait with Eng Bunker]
• Bunker, Eng, 1811-1874. [in portrait with Chang Bunker]
• Burnside, Ambrose Everett, 1824-1881. [two portraits included]
• Butler, Benjamin F. (Benjamin Franklin), 1818-1893.
• Carleton, Will, 1845-1912.
• Chapin, E. H. (Edwin Hubbell), 1814-1880.
• Clem, John Lincoln, 1851-1937.
• Clough, J. E. (John Everett), 1836-1910.
• Coan, Titus, 1801-1882.
• Colfax, Schuyler, 1823-1885.
• Collins, Wilkie, 1824-1889.
• Cook, Eliza, 1818-1889.
• Coombs, Jane, 1842- .
• Curtis, George William, 1824-1892.
• Cushman, Charlotte, 1816-1876.
• Dana, Charles A. (Charles Anderson), 1819-1897.
• Darwin, Charles, 1809-1882.
• Davis, Jefferson, 1808-1889.
• Dickinson, Anna E. (Anna Elizabeth), 1842-1932.
• Dix, John A. (John Adams), 1798-1879.
• Doré, Gustave, 1832-1883.
• Doubleday, Abner, 1819-1893.
• Douglass, Frederick, 1818-1895.
• Emerson, Ralph Waldo, 1803-1882.
• Emory, William H. (William Hemsley), 1811-1887.

Box 1.2: Brearley-Pingree collection cartes de visite, F-N

This box contains 46 cartes de visite. Represented individuals include the following:

• Farragut, David Glasgow, 1801-1870.
• Ferrero, Edward, 1831-1899.
• Field, Cyrus W. (Cyrus West), 1819-1892.
• Field, Kate, 1838-1896. [Mary Katherine Keemle Field]
• Fillmore, Millard, 1800-1874.
• Forrest, Nathan Bedford, 1821-1877.
• Fowler, O. S. (Orson Squire), 1809-1887.
• Garrison, William Lloyd, 1805-1879.
• Gladstone, W. E. (William Ewart), 1809-1898.
• Grant, Ulysses S. (Ulysses Simpson), 1822-1885.
• Greeley, Horace, 1811-1872.
• Greenwood, Grace, 1823-1904. [Sarah Jane Clarke Lippincott]
• Hall, John, 1829-1898.
• Halleck, H. W. (Henry Wager), 1815-1872.
• Hancock, Winfield Scott, 1824-1886.
• Hay, John, 1838-1905.
• Heintzelman, Samuel Peter, 1805-1880.
• Hoar, E. R. (Ebenezer Rockwood), 1816-1895.
• Holland, J. G. (Josiah Gilbert), 1819-1881.
• Holmes, Oliver Wendell, 1809-1894.
• Hooker, Joseph, 1814-1879.
• Howard, O. O. (Oliver Otis), 1830-1909.
• Hugo, Victor, 1802-1885.
• Jackson, Stonewall, 1824-1863.
• Johnson, Andrew, 1808-1875.
• Kirby-Smith, Edmund, 1824-1893.
• Lee, Fitzhugh, 1835-1905.
• Lee, Robert E. (Robert Edward), 1807-1870.
• Lincoln, Abraham, 1809-1865.
• Locke, David Ross, 1833-1888. [Petroleum V. Nasby]
• Logan, John Alexander, 1826-1886.
• Longstreet, James, 1821-1904.
• Loring, Charles G. (Charles Greely), 1794-1867.
• Loyson, Hyacinthe, 1827-1912.
• Lucca, Pauline, 1841-1908.
• Mario, Giovanni, 1810-1883. [Mario, T.]
• McClellan, George Brinton, 1826-1885.
• Mitchell, Maggie, 1837-1918.
• Moltke, Helmuth, Graf von, 1800-1891.
• Monroe, James, 1758-1831.
• Morse, Edward Sylvester, 1838-1925.
• Motley, John Lothrop, 1814-1877.
• Nāṣir al-Dīn Shāh, Shah of Iran, 1831-1896.
• Nast, Thomas, 1840-1902.
• Nilsson, Christine, 1843-1921.
• Nutt, Commodore, 1848-1881. [group portrait with Minnie Warren]

Box 1.3: Brearley-Pingree collection cartes de visite, O-Z

This box contains 36 cartes de visite. Represented individuals include the following:

• Ord, Edward Otho Cresap, 1818-1883.
• Parepa-Rosa, Euphrosyne, 1836-1874.
• Patti, Adelina, 1843-1919.
• Phillipps, Adelaide, 1833-1882.
• Porter, David D. (David Dixon), 1813-1891.
• Rogers, Randolph, 1825-1892.
• Salvini, Tommaso, 1829-1915.
• Saxe, John Godfrey, 1816-1887.
• Schurz, Carl, 1829-1906.
• Scott-Siddons, Mary Frances, 1844-1896.
• Sheridan, Philip Henry, 1831-1888.
• Sherman, William T. (William Tecumseh), 1820-1891.
• Sothern, Edward Askew, 1826-1881.
• Spinner, Francis Elias, 1802-1890.
• Spurgeon, C. H. (Charles Haddon), 1834-1892.
• Stanley, Henry M. (Henry Morton), 1841-1904.
• Stephens, Alexander H. (Alexander Hamilton), 1812-1883.
• Strakosch, Max, 1835-1892.
• Sumner, Charles, 1811-1874.
• Tennyson, Alfred Tennyson, Baron, 1809-1892.
• Terry, Alfred Howe, 1827-1890.
• Thiers, Adolphe, 1797-1877.
• Thomas, George H. (George Henry), 1816-1870.
• Thomas, Theodore, 1835-1905.
• Thumb, Tom, 1838-1883. [Charles Sherwood Stratton; group portrait with Lavinia Warren]
• Twain, Mark, 1835-1910. [Samuel L. Clemens; both names signed on photograph]
• Vanderbilt, Cornelius, 1794-1877.
• Waite, Morrison R. (Morrison Remick), 1816-1888.
• Warren, G. K. (Gouverneur Kemble), 1830-1882.
• Welles, Gideon, 1802-1878.
• Willcox, Orlando B.
• Wilson, Henry, 1812-1875.
• Woodhull, Victoria C. (Victoria Claflin), 1838-1927.
• Wright, Horatio Gouverneur, 1820-1899.
• Yates, Edmund, 1831-1894.
• Young, Brigham, 1801-1877.

Box 2: Brearley-Pingree collection cabinet cards

This box contains 27 cabinet cards. Represented individuals include the following:

• Andrade, Ignacio, 1836-1925.
• Arthur, Chester Alan, 1829-1886.
• Bernhardt, Sarah, 1844-1923.
• Booth-Tucker, Emma, 1860-1903.
• Booth-Tucker, Frederick St. George de Lautour, 1853-1929.
• Bull, Ole, 1810-1880.
• Cable, George Washington, 1844-1925.
• Chamberlain, Joseph, 1836-1914.
• Dickinson, Donald McDonald, 1846-1917.
• Garfield, James A. (James Abram), 1831-1881.
• Garfield, Lucretia Rudolph, 1832-1918.
• Hayes, Rutherford B., 1822-1893.
• Janauschek, Francesca Romana Magdalena, 1830-1904.
• Kellogg, Clara Louisa, 1842-1916.
• Kennan, George, 1845-1924.
• Kruger, Paul, 1825-1904.
• Longfellow, Henry Wadsworth, 1807-1882.
• Phillips, Wendell, 1811-1884.
• Ranavalona III, Queen of Madagascar, 1861-1917.
• Reed, Thomas B. (Thomas Brackett), 1839-1902.
• Stead, W. T. (William Thomas), 1849-1912. [three portraits included]
• Stowe, Harriet Beecher, 1811-1896.
• Urso, Camilla, 1842-1902.
• Victoria, Queen of Britain, 1819-1901.
• Whittier, John Greenleaf, 1807-1892.

Box 3: Brearley-Pingree collection large photographs and manuscript materials

This box contains 9 large format mounted photographs and 33 manuscript items. Represented individuals among the photographs include the following:

• Cleveland, Frances Folsom, 1864-1947.
• Cleveland, Grover, 1837-1908.
• Ford, Clara Bryant, 1866-1950.
• Ford, Henry, 1863-1947.
• Gibbons, James, 1834-1921.
• Guzmán Blanco, Antonio, 1828-1899.
• Mace, Aurelia Gay, 1835-1910.
• Milles, Carl, 1875-1955.
• Wilder, Marshall P.

Manuscript materials of interest include a number of letters dating to the mid-1870s from various individuals (including John A. Dix, C. H. Spurgeon, H. W. Longfellow, and Lucretia R. Garfield) possibly sent to William H. Brearley in response to autograph solicitations and other requests; and numerous letters addressed to Hazen S. Pingree from various individuals (inlcuding William Thomas Stead, Ignacio Andrade, Benjamin Harrison, Grover Cleveland, and William McKinley) dating to the 1890s. Other items of interest include a copy of "Special Order No. 166 'Extract' Head Quarters 2d Brigade 3d Div 2d A.I." dated June 15th 1865 stating that the 1st Mass Heavy Artillery had been ordered by Brig. Gen. Franklin Pierce to repost to General Hancock; calling cards for "Sixto Sanchez Director General de Coreeos - Postmaster" as well as "The Admiral of the Navy" George Dewey from "when he called on Gov. Pingree in Detroit"; a clipped signature of "Louis Botha Commandant General"; an undated note to poet Louise Chandler Moulton; a document dated August 1st 1892 detailing financial investment information related to the Michigan-Peninsular Car Company with pasted clippings of wealthy politicians and their net worths as well as annotations by Pingree; a letter dated Feb 19th 1892 from Don M. Dickinson to Pingree regarding the prospective visit of Grover Clevland to Detroit, Ann Arbor, and the University of Michigan; a letter dated March 9th 1949 from Hazel Hope Pingree Mills to Director of the William L. Clements Library Randolph G. Adams regarding progress being made on research regarding the life of William H. Brearley; and an undated typed copy of a short essay titled "Brearley - Man of Action, Started Many Important Detroit Activities" by historian George B. Catlin.

The California and Washington holiday photograph album contains approximately 110 photographs related to an excursion on the West Coast made by an unidentified couple.

The California and Washington holiday photograph album contains approximately 110 photographs related to an excursion on the West Coast made by an unidentified couple. The album (18.5 cm x 29 cm) has black cloth covers and is tied with black string. Towards the beginning of the album there are 20 photographs of Native Americans (likely members of the Confederated Tribes of the Umatilla Indian Reservation) with tipis at an encampment and on horseback in full regalia during a parade in Walla Walla, Washington; a river view with paddle steamers; and two views of a parade with the marching band from the U.S. Indian School in Chemawa, Salem, Oregon. Subsequent images from further south along the Pacific coast include views of Golden Gate Park; Sutter Fort and the Capitol building in Sacramento, California; the outdoor organ from the Panama-Columbian Exposition in San Diego; Balboa Park; an early Loughead Model G seaplane on a dock with a sign offering passenger rides; and the Santa Barbara Mission and rocky coastline nearby. Also present are views of Multnomah Falls, Oregon, and giant redwoods. Towards the back end of the album are four photographs showing a parade on a suburban street with 5 women wearing uniform caps, possibly factory workers, sitting in an open automobile decorated with American flags and a sign on the back that reads "Doing our bit."

The Camp Funston, Kansas, and Camp Lee, Virginia, photograph album contains approximately 100 photographs related to World War I army training activities and facilities at Camp Funston, Kansas (later Fort Riley); Camp Lee, Virginia; and Fort Myer, Virginia.

The Camp Funston, Kansas, and Camp Lee, Virginia, photograph album contains approximately 100 photographs related to World War I army training activities and facilities at Camp Funston, Kansas (later Fort Riley); Camp Lee, Virginia; and Fort Myer, Virginia. The album (21 x 28 cm) has brown suede covers stamped with a U.S. Army design and is bound with string. Most photographs include manuscript captions on versos. Images include photographs of training activities including bayonet drills, hand-to-hand combat, digging trenches, and practicing maneuvers; Basil M. Stevens standing at the front of African American guard troops; and individual portraits of officers in uniform, autographed and inscribed to Basil M. Stevens. Additional photographs taken in Washington, D.C., show Stevens with military officers and his wife, Helen.

The Camp Lin-E-Kin photograph album (16 x 24 cm) contains 36 photographs of people and activities at a girls' camp in Maine.

The Camp Lin-E-Kin photograph album (16 x 24 cm) contains 36 photographs of people and activities at a girls' camp in Maine. Images depict varied activities: hiking, boating, dancing, and calisthenics. Of interest are numerous photographs of girls wearing costumes and a group wearing swimming outfits, an image of a cabin interior with girls writing letters and knitting, and two photographs of girls holding cameras. An envelope with 10 additional photographs is laid in the album.

The album has a black cloth cover tied with string; housed in a grey board wrap with blue cloth spine.

The Caspar Wistar Miller photograph albums contain approximately 172 photographs stored in two albums that document travels in the western United States, Alaska, and Europe by Philadelphia-area physician Caspar Wistar Miller during the late 19th-century.

Volume 1 (33.5 x 40 cm) has maroon and black leather covers with “Photographs” stamped in gold on the spine and contains 87 photographs related to Miller’s travels in the western United States and Alaska from May to August of 1888. Many images appear to include glass plate negative numbers. Traveling mostly by rail, Miller’s itinerary and layovers can be tracked from the photographs, almost all of which note the date and location. Miller appears to have held an interest in photos of valleys looking first in one direction (“up”) and then the other (“down”), and he also regularly sought out possibilities for bird’s-eye views of towns. The album opens with a photo of a cantilever bridge in Niagara, New York, before documenting Miller’s time in Pullman, Illinois, where he observed the railroad baron George Pullman’s newly built factory town. It is likely that Miller traveled in Pullman railroad cars during this journey. Subsequent images show scenes from Colorado, New Mexico, and California, where Miller spent a month photographing various towns and cities along the Pacific coast before heading into the Northwest. Included are images of the area surrounding the Las Vegas, New Mexico hot springs; street scenes, historic sites, and Native Americans in Santa Fe; and views of buildings, historic sites and natural scenery in Californian locations including Pasadena, Los Angeles, Santa Barbara, Yosemite, Monterrey (including views of the Hotel Del Monte), Santa Cruz, San Francisco, and the Lick Observatory on Mount Hamilton. Images related to the Northwest include a bird’s-eye view of Portland, Oregon, and a series of photographs of acrobats performing in Tacoma, Washington. Also present are a series of images taken in early July 1888 after Miller joined a few dozen other travelers on a three-week Alaskan cruise exploring inlets, harbors, and villages. Alaskan images include a group portrait of Tlingit women and infants; photos showing a grave totem and totem poles at Fort Wrangell; Tlingit men and women selling wares on a wharf in Juneau; views of Juneau and Sitka; a block house in Sitka; the face of Muir Glacier; a Tlingit camp at Pyramid Harbor; a group portrait of officers in command of the sidewheel steamship “Ancon”; and group portraits of fellow travelers posing with various Tinglit items including a chilkat blanket. A newspaper clipping regarding Alaskan totem poles is also included opposite one of the totem pole images. Photographs taken during Miller’s return home include scenes from Port Townsend, Washington; Yellowstone National Park; and Minnehaha Falls in Minnesota.

Volume 2 (28.5 x 39 cm) also has maroon and black leather covers and contains 85 photographs related to Miller’s European travels between May and August of 1892. The vast majority of these images are high-quality commercially-made photographic prints documenting typical tourist attraction subjects such as historic buildings, street scenes, cathedrals and churches, sculptures, and landscape views. Many of these images were likely produced from glass plate negatives that were originally created in the 1870s and 1880s. A small number of half-tone reproduction images clipped from printed sources are also present. Many of the commercially-produced images include captions within the photographs that provide site information and negative or series numbers, while some also contain blind stamps bearing photographer or studio names. The album begins with images of scenes in Le Havre and Paris, France; the two Le Havre-related photographs appear to have possibly been taken by Miller, while the Parisian views were all purchased from the gallery “A Jeanne D’Arc Paris 3, Place Rivoli, 3.” Most, if not all, of the remaining photographs in the album were also purchased by Miller. Subsequent images include views of sites, sculptures, and Alpine scenery in the Swiss locales of Geneva, Vevey, Montreux, La Tour-de-Peilz, Bern, Zurich, Fribourg, Thun, Oberhofen, Interlaken, and Lucerne. Other Swiss-related images include views of the Lauterbrunnen Valley; the Jungfrau; the Lion of Luzern monument; a wall tower and hotel in Zug; a man operating a dog-powered milk cart; and the Rheinfall. Austrian views include scenes from locations such as Innsbruck, Kufstein, and Rattenberg, while German destinations such as Lindau, Munich, Nuremburg, Heidelberg, Frankfurt am Main, Koblenz, and Cologne are also represented. The back-end of the album contains images from Brussels, Belgium, including another photograph of a dog-powered milk cart.

The Chicago to Colorado photograph album contains approximately 210 photographs taken by an unidentified photographer related to a tour from Chicago, Illinois, to Colorado and back again through Milwaukee, Wisconsin.

The Chicago to Colorado photograph album contains approximately 210 photographs taken by an unidentified photographer related to a tour from Chicago, Illinois, to Colorado and back again through Milwaukee, Wisconsin. The album (26 x 32 cm) has black paper covers and a manuscript note inside the front cover that reads: "Tour of 1903." Chicago-related photographs include a commercial street view, the Chicago River, and Lincoln Park. The following 191 photographs were taken in various locations around Colorado, including 20 images of commercial streets, residential streets, and parks in Denver and Colorado Springs; an early motorized sightseeing bus on a Colorado Springs street; and scenic views documenting visits to the Garden of the Gods, Pikes Peak, and the Gunnison River.

Several photographs show the main building and a small cabin at Sprague's Ranch in Moraine Park, Colorado. The travelers, a party of two men and a woman, are shown fishing, posing beside their platform tents, and sightseeing with larger groups. Also shown is the dramatic scenery of Ouray, Colorado, with views of the mountains, the box canyon, Silver Plume mines, and street scenes which include a stagecoach and loaded burros. Following several photographs of hotels in Glenwood Springs, Colorado, and a view of the Grand Canyon of the Arkansas, there are three images that show streets in Milwaukee, including the Schlitz Brewery, as well as two additional images of Chicago street scenes.

The City of Boston Public Celebration July 4th, 1918, photograph album contains 81 photographs documenting Fourth of July celebrations that took place in Boston, Massachusetts, in 1918.

The City of Boston Public Celebration July 4th, 1918, photograph album contains 81 photographs documenting Fourth of July celebrations that took place in Boston, Massachusetts, in 1918.

The album (39 x 28.5 cm) is sting-bound and has gray cloth covers with "Photographs" stamped in gold on the front and black paper pages. The first page contains a handwritten label that reads "City of Boston July 4th, 1918." Most but not all images include handwritten captions. The album's contents are grouped into three sections marked by handwritten labels: “Patriotic Exercises,” “Sports and Pastimes,” and “The Parade in the Evening."

"Patriotic Exercises" begins on pg. 3 and contains 19 photographs. Images include several views showing Boston mayor Andrew James Peters overseeing flag raising exercises performed by uniformed U.S. Army soldiers on Boston Common; views of a floating stage at Frog Pond; three photographs of speakers at the Old State House including Rabbi Abraham Nowak, Mayor Peters, and Walter A. Whelan; and two photographs related to a speech by Judge Joseph J. Murley at Wood Park Island.

“Sports and Pastimes” begins on pg. 43 and contains 35 photographs. Images include numerous views of swimming and boat races held at the Charles River Basin; views showing a baseball game, brass band performance, and parading Naval Battalion at Wood Island Park; views of the “Italian populace,” “Italian societies,” and others at North End Park; views showing the distribution of ice cream at the Charles River Gym and Prince Street Playground; views of athletic competitions taking place at Boston Common including foot races and tug of war; and a view of bathers at City Point.

"The Parade in the Evening" begins on pg. 115 and contains 27 photographs. All of these images showcase participants in a parade procession and include views of U.S. Army troops and the 10th Massachusetts State Guard, various ethnic groups (including Latvians, Italians, Portuguese, Albanians, Chinese, Greeks, and Armenians), a coordinated group of children in formation as a "living flag," and the Mission Church Band.

The Cuba photograph album contains 40 photographs of buildings, monuments, and other sights in Havana, Cuba, taken by an unidentified American tourist around 1901.

The Cuba photograph album contains 40 photographs of buildings, monuments, and other sights in Havana, Cuba, taken by an unidentified American tourist around 1901.

The album (14 x 18 cm) has grey cloth covers and is in fragile condition, with some early pages possibly missing. All 40 photographs are in good condition and include detailed inscribed captions. Most images are of major buildings and monuments such as the Cathedral Havana, Tacon Market, and Morro Castle.

• The wall where Spanish soldiers executed eight medical students falsely accused of desecrating a cemetery in 1871.
• Hotel Inglaterra (still in operation) with the empty pedestal in front where a statue of Queen Isabella II of Spain stood until 1899.
• The remains of the USS Maine, sunk in Havana Harbor in 1898 during the Spanish-American War.
• Tourists looking through the fence at General Fitzhugh Lee’s Marianao headquarters where he served as a commander of occupation forces from January 1899 until November 1900. Gen. Lee was a popular consul general in Havana from 1895 until the Spanish-American War broke out in April 1898, and he was the last American to leave Cuba. During the war, he trained a group of volunteer soldiers in Jacksonville, Florida, but never saw combat. He was appointed commander of occupation forces in the Havana District and returned to Cuba on January 1st, 1899, the day the Spanish evacuated the island

The David V. Tinder Collection of Michigan Photography consists of over 100,000 images in a variety of formats including daguerreotypes, ambrotypes, tintypes, cartes de visite, cabinet photographs, real photo postcards, stereographs, and mounted and unmounted paper prints. The collection is primarily made up of vernacular photographs of everyday life in Michigan taken by both professional and amateur photographers from the 1840s into the mid-twentieth century. In addition to supporting local history research, the collection has resources for the study of specific events and subjects. Included are images related to lumbering, mining, suburbanization; the industrialization of cities; travel and transportation; the impact of the automobile; the rise of middle-class leisure society; fashion and dress; ethnicity and race; the role of fraternal organizations in society; and the participation of photographers in business, domestic, and social life. The collection is only partially open for research.

The subject contents of different photographic format series within the Tinder collection vary, depending in part upon how each format was historically used, and the date range of that format's popularity. For example, cartes de visite and cased images are most often formal studio portraits, while stereographs are likely to be outdoor views. Cabinet photographs are frequently portraits, but often composed with less formality than the cartes de visite and cased images. The postcards and the mounted prints contain very diverse subjects. The photographers' file contains many important and rare images of photographers, their galleries, promotional images, and the activities of photographers in the field. See individual series descriptions in the Contents List below for more specific details.

Included throughout are images by both professional and amateur photographers, although those by professionals are extant in far greater numbers.

The Drew family photograph album contains 27 photographs related to a New York family including images of children, family pets, family tombstones, a man posing with a horse and gig, group rowboats, and the Canadian steamboats Hamilton and Spartan.

The Drew family photograph album contains 27 photographs related to a New York family including images of children, family pets, family tombstones, a man posing with a horse and gig, group rowboats, and the Canadian steamboats Hamilton and Spartan.

The album (16 x 20 cm) is half-bound with black leather binding and black cloth boards. Lacking spine.

The Dudley family photograph album (15 x 21 cm) contains approximately 175 photographs of the Rhine Valley in occupied Germany at the end of World War I as well as photographs of U.S. Marine Robert W. Dudley's home and family in Medical Lake and Walla Walla, Washington, after the war and through the Great Depression.

The Dudley family photograph album (15 x 21 cm) contains approximately 175 photographs of the Rhine Valley in occupied Germany at the end of World War I as well as photographs of U.S. Marine Robert W. Dudley's home and family in Medical Lake and Walla Walla, Washington, after the war and through the Great Depression. Images related to the Allied occupation of Germany include candid and portrait photographs of American soldiers; images of Coblenz and street scenes in Neuweid and Rengsdorf; images of an aviation field near Andernach; a postcard from the Jewish Welfare Board with an illustration of the ocean liner S.S. George Washington,; and several photographs of the River Rhine itself, including an image of a pontoon bridge opening to let an excursion boat pass. Post-war images from Washington include views of horse-drawn plows, Medical Lake Firemen, a camping trip, and numerous children. A large number of images have manuscript captions.

The album has a black cloth cover tied with string and is housed in a light blue box.

The Edward R. Mullin, USS Albany in Asia photograph albums consist of three volumes containing images and ephemera that document an American sailor’s experiences aboard a US Navy ship in the Asiatic Fleet from 1919 to 1920.

The Edward R. Mullin, USS Albany in Asia photograph albums consist of three volumes containing images and ephemera that document an American sailor’s experiences aboard a US Navy ship in the Asiatic Fleet from 1919 to 1920.

Volume A: This album (14.5 x 21 cm) contains photographs of scenes in Panama, Hawaii, Japan, Russia, China, California, and the Philippines that mostly depict the USS Albany, American soldiers and sailors, local citizens, and tourist scenes. Numerous ephemeral items compiled by Edward R. Mullin (the album’s creator) from various foreign places are also present, including tickets, stamps, bank notes, and an Asahi beer label. Of note is a “familiar phrases” card for translating English to Japanese. On the inside back cover of the album a handwritten log lists arrivals and departures of the USS Albany, while a typescript description of a military takeover of Vladivostok, Russia, is also included.

Volume B: This album (18 x 26 cm) contains photographs of scenes in Russia and China. Images show American soldiers and sailors exploring sites and interacting with local citizens as well as natural scenery and architecture. Of note are photographs of the Great Wall and the Forbidden City in China. Some photos have handwritten captions that identify locations and/or persons pictured

Volume C: This album (20.5 x 29 cm) contains photographs of scenes in Russia, the Philippines, Panama, Japan, China, Hawaii, and California. Of note are photographs of the Panama Canal and some images showing the compiler of the album, Edward R. Mullin. Many photos have handwritten captions. Also present are various types of ephemera including a beer label, tickets, and a fabric poppy flower, as well as a photocopy of Mullin’s service record, a large portrait of the USS Albany in Shanghai, China, and a loose photo of the USS Albany in Vladivostok.

The Electric railway engineer photograph album consists of approximately 235 photographs and 1 booklet documenting the professional and personal life of an unidentified railway engineer specializing in electric rail line infrastructure.

The Electric railway engineer photograph album consists of approximately 235 photographs and 1 booklet documenting the professional and personal life of an unidentified railway engineer specializing in electric rail line infrastructure.

The album (25.5 x 30.5 cm) has dark green cloth covers with “Photographs” stamped on the front cover. All of the album pages are loose and fairly brittle, but the images are in generally good condition.

The first page contains sixteen signatures from participants in the 30th reunion of the Union College class of 1885. Subsequent photographs include several views of Union College campus, aspects of student life (including dorm room interiors and a group of portraits showing crossdressing men captioned “Minstrels"), and formal portraits of members of the Kappa Alpha Society in the mid-1880s, presumably including some of the attendees at the reunion whose signatures are represented.

The unidentified presumed compiler of the album can be seen in several photographs. He appears to have been an engineer specializing in infrastructure projects for electric-powered rail systems and was active in the early stages of when railroads in the United States were moving towards electrification. Many of the smaller circular photographs found throughout in the album were likely produced by a Kodak No. 2 camera, while larger format prints and cyanotypes are also present.

Contents are arranged chronologically starting with the compiler's student days before focusing on various professional assignments and elements of his personal life. During the ten years following his graduation from Union College the compiler apparently participated in several railroad development projects, mainly in what would become Washington State but also in Kansas, Oklahoma, and Idaho. Photographs from this period of his life include views of survey camps along the Columbia River and other regional waterways, interior and exterior views of the compiler’s home in Tacoma, portraits of his growing family, and snapshots of Klickitat people (including a group portrait of three women picking hops). By 1896 the compiler and his family appear to have moved back east, settling in New Rochelle, New York. Photographs from this period include documentation of projects on intercity lines on Staten Island and other nearby boroughs, a project in upstate New York, and numerous images of friends and family. The Albany and Hudson Railway and Power Company’s new electric train line to various towns between Hudson and Albany required establishing power sources along the route. As a small group of photographs in this album show, this necessitated constructing a dam at Stuyvesant Falls on the Kinderhook Creek which would provide electric power to the rail line and various local businesses. The final pages of the album document the construction of Hudson Park Dock in New Rochelle as well as leisure activities such as the 1906 Vanderbilt Cup auto races and a naval review in Oyster Bay.

A total of 18 loose photographs are included towards the back of the album. Images include a group portrait of Union College students from the 1880s, a studio portrait of a young woman and infant taken in the mid-1890s in Tacoma, and a double exposure of a woman standing next to an automobile in Jacksonville, Florida, in 1918. Also present is a printed pamphlet replete with numerous halftone reproduction images titled “Letter from Mayor Clarke to the Voters of New Rochelle with Pictures of Improvements Under His Administration” which highlights several civic infrastructure projects (including the Hudson Park Dock) undertaken during the tenure of mayor Henry Clarke.

The Emmett M. Smith photograph album contains approximately 790 photographs and 6 pieces of ephemera related to the experiences of American soldier and engineer Cpl. Emmett Merle Smith while he served with the United States Army Air Service’s 800th Aero Repair Squadron in France during World War I.

The Emmett M. Smith photograph album contains approximately 790 photographs and 6 pieces of ephemera related to the experiences of American soldier and engineer Cpl. Emmett Merle Smith while he served with the United States Army Air Service’s 800th Aero Repair Squadron in France during World War I.

The album (28 x 37 cm) has black cloth covers with “Postal Souvenirs” stamped on the front; the covers and spine are in poor condition, as are a relatively small number photographs (some of which bear signs of insect damage).

On the inside of the front cover is a tipped-in copy of A History of the 800th Aero Repair Squadron, an official unit history account of the squadron published by its members in 1919. A small group of 10 loose photos and 6 pieces of ephemera are also present, including postcards, snapshots, YMCA guides to Paris and Marseilles, and two programs related to jointly held French and American Mother’s Day celebrations in Paris in May 1919 that were organized by L’Association des French Homes.

The first pasted-in photographs in the album are a series of 24 panoramic views showing Parisian scenery and famous landmarks. This section ends with another YMCA guide to Paris and a matriculation card for the Université de Paris Faculte des Sciences 1918-1919 for Emmett M. Smith that includes a portrait. Smith appears to likely have been the compiler of this album as he appears in numerous other photographs throughout. He was a member of the 800th Aero Repair Squadron’s Flight A, who were stationed at Camp de Souge near Bordeaux.

From pg. 15 through to the end of the album photographs are individually numbered from 1 to 781. While a typescript index describes photographs #25-28, there is no overarching index for the entire series. Numerous photos have captions (including manuscript captions), though the majority do not. Images come in a range of sizes and appear to have originated from numerous sources including German and French photographers as well as snapshots possibly taken by Smith himself. “AR” also appears on several photographs, possibly indicating that these images were taken by 800th Aero Repair Squadron photographers. However, by and large photographers are not identified for specific images.

In general, this album contains frontline scenes of battlefields, dead soldiers and animals, trench views, and ruined structures as well as images documenting camp life, military bases, and aerial reconnaissance views. Numerous photographs of military equipment, weaponry, airplanes, tanks, warships, soldiers, and street scenes showing cities/towns and civilians are also present. Post-war scenes include documented stays in Paris, southern France, Italy, and Spain.

• #3 (image showing charging soldiers, some in gas masks, with one man appearing to be clutch his throat while falling; captioned “Actual photo of action at Verdune”)
• #7, 651 (800th Aero Repair Squadron group portraits)
• #12 (shot of Kaiser Wilhelm talking with German officers)
• #15, 17 (aerial views of Albert, France, in November 1916)
• #48, 70.1 (pictures of German tanks)
• #73, 76 (view of citadel with German signage and view showing street signage by ruins; amongst other views that appear to be in Belgium)
• #109 ("Toul - French plane ready for a flight")
• #110, 111 (images showing the French and American sections of the 1918 panoramic painting Panthéon de la Guerre)
• #142, 143 (two images of a train wreck by “Chiljian,” possibly Armenian American photographer Pvt. Henry B. Chiljian)
• #146, 148 (two images showing plane crash wreckage)
• #167 (French observation balloon being inflated)
• #209 (Georges Clemenceau visiting aviation field)
• #219 (clipping showing aftermath of the Halifax explosion with inscription reading “Spent 10 day aboard ship here right after explosion was supposed to have been here just before explosion but was delayed”)
• #374 (post-war image captioned “U.S.A. bound” which precedes series of naval voyage images)
• #451+ (images from Italy and Southern France)
• #525 (railroad scene with “Chicago Opera Association” sign in view)
• #631 (view of three men at typewriters working in an office with maps and aerial photographs pinned to the wall)
• #638 (aerial view captioned “My aviation camp. Camp de Souge - North of Bordeaux from the 2nd Artillery Aerial Observation Island 1917-1918-1919”)
• #649 (view showing surgery being performed on a man in operating room captioned “Hell - without [anesthesia]”)
• #699 (view showing a queue outside of a YMCA in Bangor, Maine)
• #712, 715 (two portraits of young women captioned “My Italian fiancée” and “My Spanish fiancée”)

The Faber German-American family photograph album contains approximately 305 photographs related to a German-American family based in northeastern Illinois.

The Faber German-American family photograph album contains approximately 305 photographs related to a German-American family based in northeastern Illinois. The album (26 x 18 cm) has black leather covers and is string-bound. Some photographs have faded captions. Images include views from summer trips to a cabin on White Lake; camping and picnicking at Silver Lake; paddling canoes bedecked with American flags; people dressed up to attend a Lutheran youth meeting in Jackson, Michigan; and a trip to Niagara Falls. The German-American family represented in the album was likely involved in the nursery business due to the fact several photographs show nurseries with plant stock, trees identified by their Latin names, and men working at the D. Hill Nursery in Dundee, Illinois. Other images of interest include photographs taken in Germany such as a group portrait of boys posing with their professor; a group portrait of German straw-sack stuffers in military uniforms; a real photo postcard of a group of men in uniform sent to "John Faber" of Woodstock, Illinois, from Germany in 1914; and another real photo postcard addressed to "Hans Faber" in Rosheim, Rheinland.

The Family and travel photograph album contains approximately 120 commercial and amateur photographs primarily showing a couple and their two young children.

The Family and travel photograph album contains approximately 120 commercial and amateur photographs primarily showing a couple and their two young children.

The album (18.5 x 28 cm) features photographs of the unidentified couple and an their children at home, visiting friends, and on trips to the shore. Also included are photographs of stately homes and several childrens' parties, with one group of children holding hoops and sticks. Commercial photographs include a view of Washington, D.C. from the Capitol dome; the U.S. Capitol building; the Statue of Liberty; the former Treasury building on Wall Street in New York City; the Brooklyn Bridge; Carpenters' Hall; the S.S. Teutonic; and a nearly completed Philadelphia City Hall.

The Tyler-Montgomery-Scott family album chronicles multiple generations of the Tyler, Montgomery, and Scott families of the Philadelphia area from the 1860s through the 1930s. It includes approximately 275 items including studio portrait photographs, informal snapshots, newspaper clippings, postcards, letters, and other ephemera.

The Tyler-Montgomery-Scott family album chronicles multiple generations of the Tyler, Montgomery, and Scott families of the Philadelphia area from the 1860s through the 1930s. It includes approximately 275 items including studio portrait photographs, informal snapshots, newspaper clippings, postcards, letters, and other ephemera.

The album (33 x 25.5 cm) is string-bound with grey cloth covers. Most photographs in the album have detailed handwritten captions identifying people, often with their middle or maiden names as well as the location and date. The presentation of the album is not strictly chronological, especially in the latter half. The early generations of Tylers are represented in photographic formats such as cartes-de-visite, tintypes and cabinet cards, while later generations are represented in snapshots and postcards. When the album reaches the mid-twentieth century, it begins to resemble the modern family album with various forms of ephemera (newspaper clippings, drawings, letters, Christmas cards, etc.) supplementing the photographs of family and friends.

The album begins with a portrait of Frederick Tyler, his daughter Sarah Sophia Cowen, granddaughter Kate “Gwen” Cowen Pratt, and great-granddaughter Kate Pratt. George F. and Louisa R. Tyler as well as their children (including Sidney F. and Helen Beach Tyler) are also featured in the initial section of the album, along with many extended family members, friends, nurses, and pets. Among the family friends pictured are painter Frederick Church, writer Bret Harte, Leonor Ruiz de Apodaca y Garcia-Tienza, Gen. William Buel Franklin, patent lawyer and historian Woodbury Lowery, and the Duke and Duchess of Arcos (Jose Ambrosio Brunetti and Virginia Woodbury Lowery Brunetti). Several interior views of rooms in George F. and Louisa R. Tyler’s home on 201 South 15th St. taken in 1896 are also present, including a photograph of the “Children’s play room” that features their granddaughter Hope Binney Tyler Montgomery holding a doll. Hope, her parents Mary W. and Sidney F. Tyler, her husband Robert “Bob” L. Montgomery, and their children Mary, Ives, and Alexander are well-represented in the album.

Of particular interest are a number of photographs in different sections of the album that depict Theodore Roosevelt and his family. Some of these images are formal studio portraits, while others are more candid snapshots of Roosevelt with other people. One snapshot shows the family at play on the grounds of Sagamore Hill in 1897. Two photos taken at the White House including Helen Beach Tyler, daughter of George F. and Louisa R. Tyler and second cousin to Edith Kermit Carow Roosevelt, are labelled “taken by Ted Roosevelt,” possibly referring to President Roosevelt’s son Theodore Roosevelt III. Helen Beach Tyler may be the “Nellie” who was the recipient of a partial letter included in the album which describes conditions at a wartime hospital (most likely in Italy) in 1915. Only the first two pages of this letter are included, and there is no indication of the identity of the writer. Helen Beach Tyler may also have been the principal compiler of this album. Supporting this possibility is the presence of an interior view of a bedroom at 201 South 15th St. (George F. and Louisa R. Tyler’s home) captioned as “Mother’s bedroom,” a signed portrait of Englishman Lytton Sothern captioned “Given to me by Mr. Sothern June 1872. Mr. Edward Sothern & his son Lytton Sothern sat at our table on ‘Oceanic’ my first trip to Europe,” and a portrait of Sara Schott von Schottenstein, Baronin von Prittwitz-Gaffron, bearing the inscription “to her friend Helen Tyler 1880.”

Other items of interest include portraits of Col. August Cleveland Tyler; several portraits of Brig. Gen. Robert Ogden Tyler; a portrait of French pianist Antoine Marmontel captioned “Mr. Marmontel Professor au Conservatoire gave us music lessons in Paris 1873-74”; a group portrait of Helen Beach Tyler, Mary L. Tyler, Alice Seward, Kitty Seward, and Ida Vinton posing with a silhouette of Sidney F. Tyler; photographs of painted portraits of George F. Tyler and Hope Binney Tyler Montgomery; a series of photos taken at the Spanish Embassy in Mexico City, some of which include the Duke and Duchess of Arcos, Woodbury Lowery, and Archibald Lowery; portraits of the Prittwitz-Gaffron family in Germany; photos taken around the world in various locations including Egypt, India, Germany, and Italy; images taken during an exhibition of sculpture by Stella Elkins Tyler (wife of George Frederick Tyler, Jr.), as well as a program from the event; and photos showing the family of Helen Hope and Edgar Scott.

The Flathead Indian Reservation photograph album contains 65 photographs of Native American men, women, and children on the Flathead Indian Reservation and in Missoula, Montana.

The Flathead Indian Reservation photograph album contains 65 photographs of Native American men, women, and children on the Flathead Indian Reservation and in Missoula, Montana.

The album (30 x 26 cm) is a modern three-ring binder with brown faux leather covers. All the album’s images are unmounted snapshots that have been arranged inside plastic album sleeves. The snapshots are mostly either 10 x 7 cm or 10.5 x 16 cm.

The album begins with portraits of Native American individuals taken in the Higgins Block of downtown Missoula, Montana, including two portraits of a Native American man posing with his infant child in a cradleboard as well as an unidentified white man, and four portraits taken outside of “Al Green’s Shaving Parlor.” Other images likely taken in and around Missoula show up elsewhere throughout the album, including several group portraits with a white fence in the background that may possibly have been taken outside the residence of the photographer, Dr. C. W. Lombard. Many photographs also appear to have been taken at the Flathead Indian Reservation.

Images of particular interest include photographs showing Native American individuals and groups (including many families) wearing western and/or traditional clothing, infants in cradleboards, encampment and reservation scenes, and landscape views. While many portraits appear to be quite casual and relatively unscripted, several clearly staged photographs are present including a man and older woman posing with sheep heads, two women (one holding a mirror) combing their hair by a river, and two men playing cards in front of a tipi.

While none of the subjects photographed in this album are identified by captions, an older man appearing in two photographs (one posing with a child on a hobby horse and another posing with a group in downtown Missoula with a child in a hand-pulled wagon) has been identified through research as Baptiste Kakashee, also known as Judge Phte and Kil-Ki-Chee.

The Genesee County photograph album contains approximately 121 photographs related to an unidentified family farm in Genesee County, Michigan, ca. 1923.

The Genesee County photograph album contains approximately 121 photographs related to an unidentified family farm in Genesee County, Michigan, ca. 1923. The album (21 x 15 cm) has a string-bound brown cover with "Photographs" stamped in gold on the front. Most of the photographs present in the album were taken on a rural farm. Photographs include individual portraits of various family members as well as images of family gatherings, farm animals, barns and other farm buildings (including pictures documenting building construction), children, camping, automobiles, and pets. Additionally, pg. 26 contains six photos of people dressed in Ku Klux Klan attire while pg. 29 includes a photograph of a World War I monument honoring several fallen alumni of the Lundhill Sunday School in Wombwell, England.

Glimpses of Loma Land contains 16 photographs related to the Theosophical community of Lomaland established in the year 1900 by Katherine Tingley in Point Loma, California.

Glimpses of Loma Land contains 16 photographs related to the Theosophical community of Lomaland established in the year 1900 by Katherine Tingley in Point Loma, California. The album (37 x 30 cm) is string-bound and has brown leather covers with the words "Glimpses of Loma Land" sylistically illustrated on the front. All of the photographs are supplied with manuscript captions that are often accompanied by elaborate illustrations and/or quotes from Tingley.

The first page bears the inscribed Theosophical motto "There is no Religion higher than truth", while an inscription on the second page reads: "The Universal Brotherhood Organized by Katherine Tingley for the benefit of the people of the earth and all creatures Among the various Departments are the Theosophical Society The Isis League of Music and Drama and the International Brotherhood League The international headquarters are at Point Loma California." The photographs begin on the third page. Images in order of appearance include a half-length portrait of Katherine Tingley in profile accompanied by an exalting inscription; the "Aryan Temple" built by Tingley in memory of "H. P. Blavatsky" and "W. Q. Judge"; a group portrait of some of Tingley's female students; a group of "Cuban boys of the Raja Yoga School" picking flowers to be used during a celebration of the arrival of 11 Cuban children described as having been previously "imprisoned at Ellis Island by the Gerry Society"; a group of American and Cuban girls "of the Raja Yoga School"; a man dressed as George Washington for "one of the character studies in the historical drama given by the Raja Yoga students"; a group portrait including "Emilio Bacardi - Mayor of Santiago de Cuba" (a personal acquaintance of Tingley's who took part in the inspection of Lomaland during the Cuban children controversy) and "Daniel Faiardo Ortiz - Editor of 'El Cubano Libre' - Santiago de Cuba" posing with students of Tingley at the "Loma Homestead"; a photograph of a Theosophical painting by Lomaland pupil A. Markell entitled "The Path"; three of the "Eleven Cuban Children" that have "become famous through the persecution of Katherine Tingley By the Gerry Society"; four Cuban girls at the Raja Yoga School "Receiving instructions in the Department of Silk Industry"; the Raja Yoga Chorus assembled for a performance; a daily calisthenics course; a group of "Comrades and Students Near One of the Ideal Homes"; the "Great Amphitheatre," the first of its kind in the United States; the "Egyptian Gate" which served as an "Entrance to the School of Antiquity"; the "Entrance to the caves of Loma Shore"; and a group portrait of several young girls at a dining table captioned "Tiny Lotus Buds - Some of the little Homemakers of the Raja Yoga School."

Graflex Sees the War contains a series of 19 mounted gelatin silver prints taken by Allied military photographers in the European and Pacific theaters during World War II.

Graflex Sees the War contains a series of 19 mounted gelatin silver prints taken by Allied military photographers in the European and Pacific theaters during World War II. This collection consists of 19 gelatin silver prints from the fourth edition of the series in their original shipping container (43 x 53.5 cm). The mailing label on the reinforced cardboard container is addressed to the manager of the Rio Theater in Hammond, Indiana. The majority of the photographs depict scenes from the Pacific theater, yet there are images from France as well. All photographs appear to have been taken in 1944. Credit for most photographs is limited to the service branch that provided them, but three items credit individual photographers by name: Cpl. Angus Robertson, Sgt. Ferman H. Dixon, and Sgt. R. B. Opper. Every credit line also includes the phrase "Graflex-made."

Titles, photo credits, and descriptions of images in order of appearance are as follows: "Two Down, Beachhead to Go, Saipan" (U.S. Coast Guard) -- soldiers under fire advancing along a beach; "Shells Away--Guam" (U.S. Navy) -- battleship firing toward shore; "Plane to Pack Train--Burma" (U.S. Army Signal Corps) -- soldiers walking with mule train, transport planes on runway in background; "U.S.-equipped Free French Troops" (U.S. Army Signal Corps) -- soldiers firing from rocky ridge; "Mam'selle 'Welcomes' Nazi Prisoner" (U.S. Navy) -- woman kicking man in city street as crowd looks on; "Hide and Seek with Death, Saipan" (U.S. Marine Corps by Cpl. Angus Robertson) -- soldiers crouching behind tank; "Biak Bound" (U.S. Coast Guard) -- deck of transport ship with convoy in background; "Victory Symbols--Past and Present" (U.S. Army Signal Corps) -- French village square showing World War I monument and advancing American tank; "105mm Howitzers In Action, Guam" (U.S. Marine Corps) -- soldiers and artillery in tropical landscape; "Channel Transfer of Invasion Wounded" (U.S. Coast Guard) -- wounded soldiers (likely injured during the invasion of Saipan) on stretchers on boat deck; "Flame, Camera, Action--Guam" (U.S. Marine Corps) -- soldiers patrolling in battle-scarred jungle; "Alligators Attacking Peleliu" (U.S. Navy) -- fleet of amphibious landing craft; "House to House Fighting--St. Malo" (U.S. Army Signal Corps) -- American soldiers under fire in French village street; "Earmarked for Guam" (U.S. Navy) - ship deck lined with large artillery shells; "Beachhead Altar, Saipan (U.S. Marine Corps by Sgt. Ferman H. Dixon) -- priest in front of makeshift altar on hood of wrecked tank; "Pause for Prayer" (U.S. Army Signal Corps) -- soldiers with rifles sitting in cathedral; civilians praying at altar; "War is H---" (U.S. Coast Guard) -- four sailors showing haircuts that spell out "H-E-L-L"; "Thar She Blows, Saipan" (U.S. Marine Corps by Sgt. R. B. Opper) -- artillery shell exploding close behind two soldiers on battlefield.

The Grosvenor L. Townsend scrapbooks consist of 7 volumes containing newspaper clippings, photographs, halftone prints, correspondence, ephemera, printed materials, maps, realia, telegrams, and other miscellaneous documents and materials related to the military career of Grosvenor Lowery Townsend.

The Grosvenor L. Townsend scrapbooks consist of 7 volumes containing newspaper clippings, photographs, halftone prints, correspondence, ephemera, printed materials, maps, realia, telegrams, and other miscellaneous documents and materials related to the military career of Grosvenor Lowery Townsend. Newspaper and journal clippings were mainly taken from New York-based publications. Most of the clippings are in extremely fragile condition. Many clippings are coupled with inscriptions indicating the name and date of the publication they were taken from. Numerous photographs also bear inscribed captions. Each volume measures approximately 25 x 19 cm in size and has marbled paper covers.

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, between 1893 and 1894. Items of particular interest include a Grand Army of the Republic report regarding the 7th's service record in the Civil War and during various New York City riots (pg. 1); a group portrait of 7th NYNG Co. D soldiers, including Townsend (figure furthest to the right), at an encampment in Peekskill, New York in June 1893 (pg. 5); clippings related to a mock Civil War battle held at Van Cortlandt Park (pg. 11); clippings related to Townsend's promotion from private to lance-corporal (pg. 13); clippings from the New York Herald and New York Tribune regarding the 7th NYNG relocating to the Seventh Regiment Armory (pgs. 42-45); a group portrait of 7th NYNG members at Sea Girt, New Jersey, in July of 1894 during a visit with New Jersey National Guardsmen (pg. 67); and Townsend's Lance Corporal chevrons (pgs. 92, 93).

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, during 1896. Items of particular interest include an engraving depicting Company D winning a chariot race at the 7th Regiment games (pgs. 28, 29); a New York Herald clipping from May 31st 1896 regarding the 7th NYNG's victory over West Point in a baseball match (pg. 39); an American Lithographic Co. halftone reproduction of a Jay Hambidge painting showing the 7th NYNG marching in uniform titled "For Love or War?" (pg. 43); clippings regarding the new regimental clubhouse at the Creedmoor Rifle Range (pg. 45); a private circular for NCOs regarding a regimental parade in honor of Chinese viceroy Li Hongzhang as well as a halftone portrait of Li (pgs. 46, 47); and cartoons from the 7th Regiment Gazette of December 1896 comically depicting track and field events (pg. 61).

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, from 1897 to May of 1898. Items of particular interest include a photographs of 7th NYNG officers and NCOs (pgs. 2, 3); halftone images from a 7th NYNG camp (pg. 7); a New York Sun clipping from October 10th 1897 regarding a mock battle at Van Cortlandt Park replete with a topographical map of the park (pg. 11); a New York Herald clipping from October 10th 1897 showing engravings related to "The Battle of Van Cortlandt Park." (pgs. 12, 13); a Harper's Weekly clipping from October 1897 showing halftone reproductions of paintings related to the mock battle at Van Cortlandt Park (pgs. 14, 15); camp scene photographs from June 1897 including one portrait of Townsend in uniform (pg. 23); halftone images showing interior rooms of the Seventh Regiment Armory (pgs. 25-28); a halftone reproduction of an engraving showing 7th NYNG uniforms from 1802 to 1897 (pg. 33); a halftone reproduction from Harper's Weekly vol. 42 no. 2157 of a painting by T. De Thulstrup showing the 7th NYNG being reviewed by Major General Charles F. Roe at the Seventh Regiment Armory (pgs. 76, 77); and multiple clippings related to the 7th NYNG's decision to refrain from allowing members to individually enlist in the regular US Army at the outset of the Spanish-American War so as not to disintegrate the unit (pgs. 82-91).

• This volume contains materials related to Townsend's service in the 201st Infantry Regiment of New York Volunteers as well as in the US Army 1st Infantry Regiment covering the period from March of 1899 to February of 1900. Items of particular interest include clippings related to Townsend's promotion from Captain of Company M 201st NY Volunteer Infantry Regiment to Second Lieutenant in the US regular army (pg. 5); letters from Townsend to his parents regarding exams he must take at Fort Monroe, Virginia, in order to achieve his promotion (pgs. 8, 9); a picture book containing halftone images from around Fort Monroe (pg. 11); a photograph showing a Fort Monroe examination room black board coupled with text of the example question present on the board (pg. 17); a copy of Townsend's commission as Second Lieutenant (pgs. 22, 23); clippings related to the naval transportation of American troops to Cuba (pg. 33); photographs of various Cuban scenes including an ossuary outside of Havana, Cuban huts and houses, Cuban soldiers being paid, American camps and barracks, a Cuban funeral, Afro-Cubans, underbrush near the mountains, a general view of Pinar del Rio, American military officers and their wives, and American troops in formation (pgs. 36-46, 48-55); a memorandum concerning the administrative use of officers' photographic portraits (pg. 59); photographs showing scenes of Guanajay and Pinar del Rio, Company K rifle ranges, American officers including Lt. McCue, Lt. Tebetts, Lt. Reams, Lt. Beacham, Lt. Wilcox, Dr. Dunchie, and Lt. Reeder, child golf caddies (including a Chinese boy named Ah Soy), a Cuban house being constructed out of palm tree materials, American officers and their wives, a Cuban burial party, soldiers on the march and drilling, an American military graveyard, Cuban ox carts, a railroad station, and churches (pgs. 60-66, 68-82); a clipping including an advertisement for "Mahara's Minstrel Carnival" (pg. 84); and more photographs showing American officers and their wives, Chinese-Cubans, a man posing with a white owl, a well-dressed Cuban man named "Mr. Usavraga", 2nd Battalion shelter camps, American barracks at Guanajay, a group of American officers and several women that includes both Townsend and his mother Emma, the fort at Mariel, a Cuban ship named Alphonso XIII sinking in Mariel Harbor, street scenes in San Antonio and Guanajay, and golf links at Guanajay (pgs. 91-115).

• This volume contains materials related to Townsend's service in the US Army 1st Infantry Regiment covering the period from April 1900 to December 1901. Items of particular interest include photographs showing 1st Infantry Company K assembled in uniform at Guanajay and the aftermath of a major storm at Guanajay, (pgs. 1, 2); clippings related to the potential ordering of the 1st Infantry from Cuba to China as well as Yellow Fever outbreaks among American soldiers stationed in Cuba (pgs. 4, 5); a fragment of an envelope bearing an official stamp from a US military surgeon indicating that the parcel had been "Disinfected and Passed" (pg. 9); clippings from August 1900 detailing the ordering of troops to Manila, Philippines, instead of China (pgs. 13-17); photographs showing various scenes from around Fort Leavenworth, Kansas, including the US Army Disciplinary Barracks (pg. 19-24); clippings from October 1900 regarding the capture and subsequent rescue of Capt. Devereux Shields (pgs. 28-30); clippings regarding the launch of the Samar Expedition and insurgent fighting tactics (pgs. 31-33, 40); photographs showing buildings occupied by American troops in Catbalogan, US Army officers and headquarters at Tacloban in February 1901 (pgs. 40-42); a clipping showing a map of the "Peaceful Districts in the Philippines" highlighting areas deemed unsafe for Americans to venture (pg. 46); photographs showing street scenes, Filipino villages and villagers, and landscape views (pgs. 50-54); a letter and associated hand-drawn map sent by Townsend to his mother describing an ambush against American forces in southern Samar in April of 1901 during which Townsend came under fire from a rifle he believed to have belonged to an American soldier who had deserted (pgs. 55, 56); a letter from Townsend to his mother in April of 1901 describing the visit of a group of Palauan tribesmen and counterinsurgency operations (pg. 57); photographs taken by Townsend of the Palauan tribesmen (pgs. 58-60); photographs from around Guiuan, including the U.S. Army headquarters, a 200 year old church door, Lt. Downes and Townsend's quarters, and images of a church and locals in Mercedes (pgs. 62, 63); clippings related to the death of Lt. Downes and Lt. McClure (pg. 68); a typescript copy of a letter initially sent by Townsend to Capt. Willard C. Fisk from July 1901, which the latter forwarded to Townsend's parents, describing engagements in Samar including one that led to Townsend being stabbed in the forearm (pg. 70); clippings related to the death of Lt. Downes and the Balangiga Massacre (pgs. 71-76); a letter from Townsend to his mother dated Oct 5 1901 describing the Balangiga Massacre and how his detachment were very nearly sent there (pg. 77); Townsend's Second Lieutenant bars (pg. 78); and a clipping describing innovative traps used by the Moros against American soldiers (pg. 79).

• This volume contains materials related to Townsend's service in the US Army 1st Infantry Regiment covering the period from 1905 to September 1907. Items of particular interest include a group portrait showing Townsend, other U.S. Army officers, and several women (including Cornelia T. Getty) standing in front of a house in Canada with snowshoeing equipment (pg. 3); clippings related to Fort Brady and a roster of troops serving in the Department of the Lakes as of August 15th 1905 (pgs. 5-7); clippings related to renewed unrest in China and the shipment of more U.S. troops to the Philippines (pg. 10, 12); clippings related to the transportation of American troops to the Philippines (pgs. 18, 19); clippings related to the celebration of George Washington's birthday at a ceremony in Gibraltar in February 1906 (pgs. 24, 26); a letter from Townsend to his mother from aboard the USS McClellan near Sri Lanka in April 1906 describing the conditions of the ship and the progress of the journey thus far (pg. 36); a typescript summary of Townsend's military career as of July 1906 (pg. 49); panoramic views of Camp Stotsenburg (pgs. 58, 64); a clipping regarding an earthquake in the Philippines in April 1907 (pg. 69); a typescript copy of a memo from September 1907 titled "Regarding the Government of the Philippine Islands With Special Reference to the Subject of Police Protection" (pg. 80); and photographs by Pedro Casanave of the S.S. Mindoro and of "Calle Gen. Hughes" in Iloilo City (pgs. 87, 88).

• This volume contains materials related to Townsend's service in the US Army 23rd and 1st Infantry Regiments covering the period from August 1909 to August 1910. Items of particular interest include a roster of officers and troops on duty at the Army Service Schools, Fort Leavenworth and the US Military Prison as of November 1909 (pg. 5); a studio portrait of Townsend in uniform taken at Fort Leavenworth (pg. 7); a copy of the September 1910 issue of the Infantry Journal by The United States Infantry Association containing an article written by Townsend titled "The Use and Effect of Flying Machines on Military Operations" (pg. 25); clippings related to practice maneuvers at Pine Camp, New York (pgs. 28-39, 49-58); halftone images showing camp scenes at Pine Camp (pgs. 47, 48); and photographs showing Townsend in uniform, Townsend's parents Malcolm and Emma, and what may have been the Townsend family residence (pg. 59).

In addition to this finding aid, the Clements Library has also created the G. L. Townsend Scrapbook Inventory which serves as an itemized list of the contents of each scrapbook.

The Hampton, Virginia, photograph album contains approximately 120 photographs, mainly panoramic images, showing waterfront views of the Hampton Roads region of Virginia as well as images of a rural farm or estate.

The Hampton, Virginia, photograph album contains approximately 120 photographs, mainly panoramic images, showing waterfront views of the Hampton Roads region of Virginia as well as images of a rural farm or estate. The album (28 x 38 cm) is half bound in brown leather. Images of interest include several exterior and interior views of a beach cottage; men, women, and children in swimming apparel, bobbing in the surf, strolling the beach and the boardwalk, and posing on the cottage porch swing and lawn; two photographs of a family group dining on the cottage veranda while an African American servant holds a fan; and a well-dressed African American couple on the porch steps.

Other photographs include views of the Chamberlain and Buckroe Beach hotels; the Cape Henry lighthouse; the Hampton Institute from across the water; the Ocean View Resort in Norfolk; the electric railway bridge over the water; and the Hampton soldier's home. Marine subjects include views of numerous small boats manned by sailors; possibly engaged in a rowing exercise; a naval station and battleship in the background; a Navy monitor under steam; and sailing boats moored in a harbor. An additional series of photographs show exterior views of a large country house in a landscaped setting, with elegant horse-drawn carriages, a farmyard with livestock, an African American man plowing a field, workers harvesting fruit in an orchard, and two African American men tending a steaming vat over an open fire.

The Haverhill, Mass. photograph album (15 x 19 cm) contains 92 amateur photoprints (cyanotypes and gelatin silver prints) mainly consisting of photos taken at a home on North Street, Haverhill, Massachusetts as well as family photos, pet pictures and winter scenes taken around Haverhill, Captain's Pond in Salem, New Hampshire, and other locations around southern New Hampshire.

The Haverhill, Mass. photograph album (15 x 19 cm) contains 92 amateur photoprints (cyanotypes and gelatin silver prints), including photos taken at a home on North Street, Haverhill, Massachusetts, "camp" at Captain's Pond in Salem, New Hampshire, and scenes from several other locations in southern New Hampshire. There are numerous photographs of exterior and interior views of houses, pets and farm animals (cats, dogs, geese, cows and horses) as well as a number of winter scenes, candid shots of women swimming and family groups, including images of a women's outdoor tea party and a child with a dog.

The album has a pebbled black leather cover and is housed in a light grey wrapper with a blue cloth spine.

The Heath family photograph album, Ilion and Dolgeville, N.Y., contains approximately 60 photographs primarily taken in Herkimer County, New York, related to the Heath family.

The Heath family photograph album, Ilion and Dolgeville, N.Y., contains approximately 60 photographs primarily taken in Herkimer County, New York, related to the Heath family. The album (18 x 27 cm) has black cloth covers, and some photographs bear manuscript captions. Images include street views of Dolgeville, the Dolge factory complex, tree-lined residential streets, a patriotic parade and rally in Ilion, a procession of young women holding rifles marching beside a cemetery, and the interior of a room stocked with chemicals (possibly a photographic darkroom). Other images show farm scenes, posed individual and group portraits, and people with horses. One subject is identified by caption as "Clark Heath."

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915.

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915. The collection is mainly composed of 10 x 15 cm silver platinum, platinotype, and gelatin silver prints as well as 15 x 20.5 cm cyanotypes. A couple of manuscript notes are also present. Much of the focus is on eastern Massachusetts, centering on Wheeler’s hometown of Worcester. Photographs show residential architecture from the 17th century, unidentified colonial homes, and contemporary architecture from Wheeler's day and age. Many of the historical structures documented here were in danger of vanishing during Wheeler's lifetime, and many have long since been destroyed. Other photographs show natural landscapes, noteworthy trees, country roads, parks, public and educational buildings, farms, monuments, bridges, milestones, and gravestones as well as images of famous paintings, engravings, and lithographs. Also included are a small number of images related to Washington, D.C., Maine, and New Hampshire. Wheeler likely took the vast majority of these photographs, though there are several instances where he credited the original sources of certain images. The collection materials were removed from the original album volumes they were stored in and have been rehoused in three 3-ring binder albums and three flat boxes. Most photographs also have original reference numbers that were used by Wheeler to organize the collection.

In addition to this finding aid, the Clements Library has created the Henry M. Wheeler Photoprint Collection Inventory. This inventory lists items according to volume/box location and includes references to specific page/mat numbers, image descriptions (most of which are derived from captions originally inscribed by Wheeler on photograph versos), and photographic formats.

The Ismailia-Damascus pilgrimage photograph albums consist of a three-volume set containing approximately 260 photographs taken during an Ismailia Shriner pilgrimage trip in 1902 to the western United States and an undated expedition overseas to various places in Greece, Egypt, Turkey, Palestine, Syria, Algeria, Lebanon, and Italy.

Volume 1 (23 x 25 cm) contains approximately 98 photographs pertaining to an overseas Shriner expedition to various locations around the Mediterranean Sea region including sites in North Africa, western Asia, and southern Europe. It is unclear when this expedition took place, though it likely occurred ca. 1902. Many of the sites visited by the group are related to biblical stories, events, and personages. Images of particular interest include the Lion's Gate at Mycenae (pg. 1); the Arch of Hadrian in Athens (pg. 3); the supposed tree under which Mary and Joseph rested in the Land of Goshen (pg.8); ruins from a "last stand" made by European Crusaders (pg. 11); the Plain of Sharon (pg. 12); the Great Pyramid (pg. 14); a "Nilo-meter" on the River Nile (pg. 14); an elevated view of Istanbul (pg. 16); a group of Greek Klephts marching in traditional uniforms (pg. 17); Tiberias (pg. 18); a tour boat conducted by guides of Nassaire, Farajallah & Co. (pg. 19); Jerusalem's Damascus Gate (pg. 21); the bell tower on the Mount of Olives (pg. 24); the Monastery of Choziba (pg. 24); the Mosque of Amr in Cairo (pg. 28); ancient Egyptian ruins at Luxor (pg. 30); the public square in Corinth where Paul was said to have preached (pg. 31); Bisharin villagers near Aswan (pg. 34); a waterfront view of Algiers (pg. 35); Pompeii (pg. 36); Job's Wall in Silwan, Palestine (pg. 40); the Bosporus Strait (pg. 41); Haifa (pgs. 43 & 45); Damascus (pg. 46); Ba'labakk (pgs. 47 & 48); and Hotel Fast in Jerusalem (pg. 49). Many but not all of the images have inscribed captions on their versos. A loose cartoonish engraving/etching of a bald man with a moustache wearing Arabic clothing while riding a camel titled "Dr. Walter D. Greene" is also present inside the front cover. The album is string bound in black leather covers with the word "Photographs" embossed in gold on front.

Volume 2 (18.5 x 27.5 cm) contains approximately 98 photographs related to the Ismailia-Damascus Pilgrimage of 1902. Images of particular interest include a cyanotype of B.W. Rowell (pg. 1); a group portrait of the travelling party at the railroad station in McFarlan, Kansas (pg. 5); scenes from Pikes Peak, Colorado (pgs. 7-23); views of the Garden of the Gods (pgs. 24, 25, 28-36 & 38); the Royal Gorge (pgs. 37, 39, 40, 42 & 44); Glenwood Springs, Colorado (pgs. 47-49, 57 & 58); the Mormon Tabernacle and Salt Lake Temple (pgs. 52-54); Monterey Bay, California (pgs. 64-66 & 67); Santa Barbara, California (pgs. 68-71); Mount Shasta and Shasta Springs (pgs. 73-77); natural landscapes in Oregon (pgs. 81-86); and a ferry boat on the Columbia River (pgs. 91-96). The album is bound in red leather covers with the words "Photographs of the Ismailia-Damascus Pilgrimage 1902; Compliments of B.W. Rowell, Imperial Recorder; To Walter D. Greene" embossed in gold on front.

Volume 3 (18.5 x 27.5 cm) contains approximately 63 photographs related to the Ismailia-Damascus Pilgrimage of 1902. Images of particular interest include scenes from Spokane, Washington (pgs. 1-3); geysers at Yellowstone's Norris Basin (pgs. 12-22) and Upper Basin (pgs. 27-36); Yellowstone Lake (pgs. 39-43); Yellowstone's Upper and Lower Waterfalls and Grand Canyon (pgs. 46-51); Shriner Caleb Saunders posing with a haul of fish (pg. 52); and Walter D. Greene posing with his wife Mary L. Greene (pg. 55), an unidentified fellow "manager" of the pilgrimage (pg. 56), and alongside George F. Loder and a man identified as "Gass" (pg. 57). The album is bound in red leather covers with the words "Photographs of the Ismailia-Damascus Pilgrimage 1902; Compliments of B.W. Rowell, Imperial Recorder; To Walter D. Greene" embossed in gold on front.

The Jacob Myers & Sons photograph album contains 80 photographs taken between 1906 and 1912 of various structures including large private residences, institutional buildings, and city dwellings that were built or renovated by prominent Philadelphia-based construction company Jacob Myers & Sons.

The Jacob Myers & Sons photograph album contains 80 photographs taken between 1906 and 1912 of various structures including large private residences, institutional buildings, and city dwellings that were built or renovated by prominent Philadelphia-based construction company Jacob Myers & Sons. The album (30 x 22.5 cm) is hard-bound with a green leather cover and includes photographs showcasing a number of construction projects in various stages of completion. The photographs appear to cover a period of time from 1906 to 1912. No clear identifications are provided regarding who produced the album, however there are indications that the locations represented are primarily in eastern Pennsylvania and that they relate to jobs performed by Jacob Myers & Sons.

The album may possibly have been used as a company sample book by Jacob Myers & Sons in order to attract new customers. In one photograph on pg. 41, there is visible signage indicating that work was being done by "Jacob Myers & Sons, Builders." A sequence of photographs on pgs. 47-75 also shows the construction of Drown Hall at Lehigh University, a project that Myers was known to have bid on in August of 1906. The construction of Drown Hall is documented extensively with photographs taken every few months from foundation to completion. Extensive renovation of an unidentified farmhouse is also photographed from start to finish over a three-month period. Another building shown on pg. 15 has been identified as "Dolobran," the home of Clement Griscom in Haverford, Pennsylvania. While there is no confirmation that Myers ever worked on this house, he was known to have been very active in residential building in that area around the time when Dolobran underwent a major renovation.

The James F. Johnson railroad photograph album contains approximately 115 photographs including technical images related to railroad machinery and the oil industry in Florida and Pennsylvania during the late 1920s.

The James F. Johnson railroad photograph album contains approximately 115 photographs including technical images related to railroad machinery and the oil industry in Florida and Pennsylvania during the late 1920s. The album (14 x 21 cm) is string-bound with black leather covers. Images of particular interest include photographs of trains on what appears to be the Florida East Coast Railway, identified friends and coworkers of album creator James F. Johnson (a railroad test observer in Florida and Pennsylvania during the 1920s), engine components, trials of various engines, and interiors of rail cars and instruction laboratories. Also included are images of drilling for oil and oil storage tanks in both Florida and Pennsylvania, general scenic views of Franklin (Pennsylvania), Saint Augustine (Florida), and the Florida Keys, as well as an image of a Shriners' convention in Miami. An envelope containing 7 additional photos is also laid in.

The Japanese tea production photograph album (15 x 23 cm) contains 12 hand-tinted gelatin silver prints pertaining to tea production in Japan ca. 1910.

The Japanese tea production photograph album (15 x 23 cm) contains 12 photographs pertaining to tea production in Japan ca. 1910. Photographs depict workers at various stages of processing tea, including picking, weighing, drying, transporting, and selling. Men, women, and children are represented performing various tasks. Also included are two photographs showing Japanese women in traditional clothing presenting and drinking tea.

The album has a coarse brown cloth cover with a painted design of two women picking tea and is tied with green string. Housed in gray board wrap with blue cloth spine.

The Jerome, Arizona mining photographs consist of 56 photographs (including 33 real photograph postcards) related to mining operations, anti-labor vigilantism, and Arizona scenery.

Most of these images appear to have been taken by an anonymous photographer who referred to himself as "Bob" and who may have been associated with a Philadelphia-based contracting firm, Charles A. Sims & Co., that was hired by the United Verde Mine. Many of the photographs have handwritten captions and bear evidence of having previously been mounted in a scrapbook; many captions have been rendered partially illegible after being affected during the removal process. The captions directly refer to details within the photographs, particularly related to mining operations.

A total of 33 real photo postcards are present, including 14 locally produced images by The Fotoplace and Areldson Studio. Several real photo postcards bear correspondence, and "Bob" appears to have sent some of these images to a woman named "Kitty."

Items of particular interest include at least two photographs depicting J. E. O'Rourke (the superintendent of the United Verde Mine); multiple views of Jerome, Arizona, including street and bird’s-eye views; multiple views of mining facilities and encampments; three images of Native Americans (likely Yavapai); two views of the Montezuma Castle cliff dwellings; a view of stalactites taken from the inside of a cavern; and eight images documenting the expulsion of I.W.W. strikers in Jerome in July 1917 by local citizens who were organized into a vigilance committee. Also present are at least five images taken near present-day Tonto Basin, Arizona, north of the Theodore Roosevelt Dam, which may be associated with another project on which the Charles A. Sims & Co. firm was contracted. While the dam itself does not appear in any of these images, the photographer wrote that the area depicted was to be inundated. Since the dam was constructed by the U.S. Reclamation Service between 1903 and 1911, these images are likely older than those taken in Jerome.

For a complete list of the collection’s contents, see the Detailed Box and Folder Listing section below.

The Lakefront Michigan cottage photograph album contains approximately 440 images documenting the construction of a family lake cottage likely located in lower Michigan.

The Lakefront Michigan cottage photograph album contains approximately 440 images documenting the construction of a family lake cottage likely located in lower Michigan. The album (18.5 x 29 cm) has black cloth covers. Photographs include views of a work party clearing land for the cottage on May 3 1920; a truck with a load of lumber mired in a rut before being subsequently rescued; three men sealing the bottom of a rowboat which proceeds to sink in shallow water; the framing and roofing of the cottage; the mounting of a sign reading, "Non Nobis Solum" over the cottage; the addition of a dock; and furniture being moved inside. Other activities depicted include a game featuring a blindfolded woman holding a beer stein; the erection of a flagpole and subsequent raising of a flag accompanied by a bugle player and firing of a miniature cannon; swimming in the lake with innertubes; wading in the lake; and rowing in a seaworthy rowboat. A truck from Edgar's Sugar House in Detroit also appears in several photographs related to the construction of the cottage.

The Lancisco Hill collection consists of one full-length studio portrait of Pima Indian Lancisco Hill as well as three letters sent by Hill to a white American woman named Frances W. Anderson Gillette between April 1908 and July 1911.

The Lancisco Hill collection consists of one full length studio portrait of Pima Indian Lancisco Hill as well as three letters sent by Hill to a white American woman named Frances W. Anderson Gillette between April 1908 and July 1911.

The studio portrait is a gelatin silver print on a near cabinet card size mount (14.5 x 10.5 cm). Hill can be seen wearing traditional Plains Native American clothing while holding a tomahawk. The clothing and tomahawk were possibly studio props supplied by the unidentified photographer. A contemporary ink inscription on the verso reads "To Mrs. Wm. H. Anderson from Lancisco Hill 12/23th/05."

The first letter (ALS, 4 pages) is dated April 24, 1908, and is addressed to "Mrs. Frances W. Anderson, #254 N. Soto Street Los Angeles, California c/o Mrs. Ward Chapman." Hill asks Anderson if she would be able to locate the C. G. Conn's store and procure three baritone springs for him while she is in Los Angeles. Hill also describes recent weather and indicates that Anderson's horses (including "Joe" and "Alice") are doing well, that he purchased a new bag of hen feed, and that a former neighbor stopped by and will soon be calling on Anderson when they visit Los Angeles.

The second letter (ALS, 3 pages) is dated May 2, 1908, and is also addressed to "Mrs. Frances W. Anderson, #254 N. Soto Street Los Angeles, California c/o Mrs. Ward Chapman." In this letter, Hill lists several chores he has recently completed at Anderson's estate, including taking a book to an unnamed woman, shoeing horses, and letting the hens out. Hill also thanks Anderson for sending him lyrics for a song and states that he thinks he can "sing it for you now at any time we get some one to play for me. I go to the Arizona School of Music now and I know I am learning it right."

The third letter (ALS, 6 pages) is dated July 24, 1911, and is addressed to "Mrs. E. G. Gillette, #414 Andover Street, Lowell, Mass." Hill discusses goings on at the Phoenix estate including recent rainy weather, the birth of a bull calf, the cats being in good health, repair work that needed to be done following a storm, and his inviting a woman named "Ms. Howsel" over for meals regularly since she is "not very busy this summer." Hill also touches on how he borrowed a total of $100 from "Ida Larson" and "Walter" to pay for a musical instrument he named "Comet," and that he would appreciate it if Frances and her husband could assist him in clearing this debt.

The Liberty Bell Tour photograph album contains approximately 580 photographs depicting the journey of the Liberty Bell from Philadelphia, Pennsylvania, to the Panama-Pacific International Exposition in San Francisco, California, and back again in 1915.

The Liberty Bell Tour photograph album contains approximately 580 photographs depicting the journey of the Liberty Bell from Philadelphia, Pennsylvania, to the Panama-Pacific International Exposition in San Francisco, California, and back again in 1915.

The album (40 x 28 cm) has black paper covers and 305 pages, 14 of which do not contain any photographs. The photographs are generally arranged in chronological sequence and depict loading the Liberty Bell onto parade floats and train cars, celebratory parades, gathered crowds, and individuals and groups posing with the Liberty Bell. Numerous pictures include captions referencing the locations in which they were taken. The album also contains two small maps, each showing one of the routes of the cross-county trips that the Liberty Bell took, as well as landscape photographs of scenes in the western United States. Notable persons photographed with the Liberty Bell include Thomas Edison, members of the Daughters of the American Revolution, and groups of Native Americans in Cayuse, Oregon. Landscapes pictured include views of Wyoming, Pulpit Rock, Bear River Canyon, Mount Shasta, Shasta Springs, Horseshoe Curve, Royal Gorge, the Rockies, Salt Lake, and Feather River Canyon.

The Louisiana Purchase Exposition collection contains 16 items, most of which are related to the 1904 Louisiana Purchase Exposition in St. Louis, Missouri, including 14 photographs, 1 letterpress halftone, and an illustrated book cover.

The Louisiana Purchase Exposition collection contains 16 items, most of which are related to the 1904 Louisiana Purchase Exposition in St. Louis, Missouri, including 14 photographs, 1 letterpress halftone, and an illustrated book cover.

• The front cover of an illustrated handbook (22 x 15 cm) about the fair by Dr. Charles M. Kurtz titled Saint Louis World's Fair, Commemorating the Acquisition of the Louisiana Territory
• A platinum print portrait (mount 35 x 28 cm) of Dr. Kurtz by Hollinger & Co. of New York, likely produced around the time of the exposition
• A letterpress halftone portrait (mount 28.5 x 21 cm) of Dr. Kurtz including an autograph from a later period
• A gelatin silver photograph (19 x 15 cm) by Carl Peter Ording of the sculpture titled North Dakota by Bruno Zimm depicting a semi-nude woman in classical garb
• Twelve gelatin silver photographs (23.5 x 18 cm) of exhibit halls showing framed paintings hanging on draped walls; these are likely views of the exhibition of American and international artists curated by Dr. Kurtz

The Louisiana Purchase Exposition photograph album contains 53 images that document the Louisiana Purchase Exposition held in St. Louis, Missouri, from April to December, 1904.

The album (14 x 19.5 cm) has brown faux-leather cloth covers and black paper pages. Photographs include images of different monuments and buildings (including international, state, and trade buildings), fairgrounds scenes, and various exhibitions including Filipino, Chinese, and Native American human zoo villages as well as the "Ancient Locomotives" and "U.S. Life Saving Exhibit." Also of note are two photographs of "Festival Hall at night."

The Lukens-Parry family carte de visite album contains 49 studio portrait photographs primarily related to the Lukens and Parry families of Chester, Pennsylvania. The Lukens and Parry families were both prominent members of the Pennsylvania Quaker community.

The Lukens-Parry family carte de visite album contains 49 studio portrait photographs primarily related to the Lukens and Parry families of Chester, Pennsylvania. The Lukens and Parry families were both prominent members of the Pennsylvania Quaker community.

The album (14.5 x 12 cm) has embossed brown leather covers, metal clasps, and "Album" stamped in gold on the spine. A taped-in note close to the front of the album reads "my relatives & friends of years ago - Sarah Kinderdine Lukens later Mrs. Wm. W. Downing - Mar 20th 1950." The note as well as numerous inscriptions identifying most individuals represented in the album were all added by Sarah Kinderdine Lukens Downing in 1950.

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The album (28.5 x 35 cm) has black cloth with “Photographs” stamped in gold on the front cover. Images include portraits of the Bade, Schram, and Fiedler families as well as views of parades in Chicago (including a Barnum & Bailey Circus parade), group portraits of the Plymouth Hook and Ladder bicycle team, the Sheboygan County Fair, natural landscape scenes, cars, trains, farming, and photographic reproductions of sentimental art. Of particular note is a portrait of Marguerite Bade riding a floor sweeper as an infant in 1909.

The Midwest family photograph album contains approximately 275 photographs related to the life and family of an unidentified World War I serviceman likely from Indiana.

The Midwest family photograph album contains approximately 275 photographs related to the life and family of an unidentified World War I serviceman likely from Indiana. The album (26 x 18.5 cm) has black cloth covers with "Photographs" embossed in gold on the front. Images of interest include views related to an unidentified high school including classrooms, the basketball team, young women sewing in a classroom, the sophmore quartet, physics class, and a band at practice; views of soldiers in uniform shown beside army tents and barracks; the Waters Concert Band from Elkhart, Indiana; a woman holding a House of David flag; and many posed group and individual portraits, mostly taken on a farm or in other rural areas. One portrait photograph shows a young woman holding a camera bearing the caption on the verso: Mabel Devor. Several photographs show a man in a naval uniform aboard a ship, including a group portrait of a naval crew. A picture postcard of a young man's studio portrait is addressed to Mabel Devor, Salamonia, Indiana.

The Midwest family travel album contains approximately 150 photographs showing travel and leisure activities in Virginia, New York, Vermont, Iowa, Michigan, Minnesota, and Georgia that were likely compiled by a friend or relative of lumber executive and one-time mayor of Manistee, Michigan, Charles J. Canfield.

The Midwest family travel album contains approximately 150 photographs showing travel and leisure activities in New York, Vermont, Iowa, Michigan, Minnesota, and Georgia that were likely compiled by a friend or relative of lumber executive and one-time mayor of Manistee, Michigan, Charles J. Canfield.

The album (26 x 35 cm) has a black cloth binding. Photographs of interest taken in Vermont and New York include rural views, country roads, a woman bicycling, and a group relaxing beside the Batten Kill River in Eagleville, New York. Images from Sioux City, Iowa, include views of public buildings, a golf tournament between Sioux City and Le Mars, a football game between Sioux City and Council Bluffs, an interior view of a woman working at a desk, a high school group on stage in blackface, a shooting expedition, and group portraits of young people at the Sioux City High School and in costume at a "hobo party." Michigan-related photographs include views of Charles Canfield's cottage in Onekama, Michigan, Canfield's yacht "Uvira," views of forests in Manistee, and a lumber camp scene captioned "Camp 4 near Luther, Mich." Photographs from unidentified locations include views of a sawmill, flum, and lumber camp, several home interiors, mountains, and giant trees likely indicative of the West Coast. Two photographs also show a canoe with a Native American family on a lake in Northern Minnesota.

The Mill dam construction photograph album (18 x 26 cm) contains 33 photoprints documenting the construction of a dam for a mill, apparently in the Three Rivers section of Palmer, Massachusetts.

The Mill dam construction photograph album (18 x 26 cm) contains 33 photoprints documenting the construction of a dam for a mill, apparently in the Three Rivers section of Palmer, Massachusetts. One photograph shows a horse-drawn construction vehicle that is marked as belonging to H.P. Cummings Construction Company. The same photograph includes a beam labeled "Palmer Mill, Three Rivers, Mass."

The album has a gray paper cover and is housed in a light blue box.

The Mugshots collection consists of approximately 100 photographic portraits produced between 1892 and 1920, the vast majority of which are mugshots.

The Mugshots collection consists of approximately 100 photographic portraits produced between 1892 and 1920, the vast majority of which are mugshots. The collection includes real photographic postcards, mounted and unmounted paper prints, and one severely tarnished tintype. Also present are two fingerprint identification cards with handwritten lists containing names of numerous individuals represented in the collection. A small number of photographs appear to be standard studio portraits. Photographs range in size from 6 x 10.5 cm to 11 x 17 cm.

Many of the mugshots have printed and/or handwritten information on their versos, including names, known aliases, nationalities, birth dates/locations, occupations, arrest dates, names of arresting police officers, criminal charges, sentences, prison locations, remarks on physical appearances, and Bertillon measurements. Most of these images were produced in various places in Pennsylvania, New York, New Jersey, and Maryland, with Philadelphia being the most represented location. The mugshots are mainly of white male subjects, though there are also four mugshots of women present. Five African American individuals (four men, one women) are also pictured. A substantial number of mugshots are of individuals from immigrant backgrounds, including Italians, Irish, Austrians, Germans, Poles, Greeks, Jews, etc. Approximately 90 individuals are personally identified in total. Recorded criminal charges include shoplifting, pickpocketing, larceny, burglary, forgery, embezzlement, false pretense, flimflamming, auto theft, horse theft, conspiracy, attempted murder, and murder. Specific police departments and correctional facilities represented include the Pennsylvania Department of State Police, Harrisburg Department of Police, Philadelphia Bureau of Police, Hartford Police Department, Newark Department of Police, Auburn Prison, Sing Sing Prison, City of New York Police Department, City of Boston Police Department, Camden Bureau of Police, Baltimore Police Department, Bureau of Criminal Investigation for the New Jersey Reformatory in Rahway (now East Jersey State Prison), U.S. Penitentiary in Leavenworth, City of Paterson Police Department, Philadelphia’s Eastern State Penitentiary, Montgomery County Prison (Norristown), Columbus Department of Police, City of Wilkes-Barre Bureau of Police, Trenton Department of Public Safety, New York House of Refuge, and the Reading Department of Police.

• a 1921 mugshot of an Italian man named Peter Erico, who was executed by electric chair on September 25 1922 along with Antonio Puntario after the pair were found guilty of murdering Detective Samuel Lucchino
• a 1909 mugshot of an eighteen year old Jewish man named Albert Steinberg, accused of pickpocketing
• two different mugshots of Irishman John Shelvin (accused of pickpocketing) taken in 1897 and 1906 following arrests in Philadelphia and Baltimore
• a 1920 mugshot of German houseworker Minnie Schissel, charged with theft
• a 1909 mugshot of accused shoplifter Marie Clark
• a 1915 mugshot of an African American man named King Brown, charged with illegal dynamite explosion, assault, and other crimes
• a ca. 1903 mugshot of larceny suspect Edward Stevenson, a "fugitive from Phil. Pa."; handwritten inscriptions on verso include note to address information to Detective E. H. Parker
• a ca. 1906 mugshot of German engineer and fireman Frank Schleiman with identifying details and a $50 reward notice for information on his whereabouts following his escape from Sing Sing Prison on December 9 1906 handwritten on the verso
• a 1908 mugshot of “dishonest servant” Blanche Grisson
• a 1919 mugshot of a Mexican man named Pedro Susman, charged with shoplifting
• two copies of a portrait or mugshot of African American man James Timberlake with identifying details handwritten on verso
• a 1908 mugshot of an Austrian butcher named Herman Haubt, convicted of 2nd degree murder
• an undated mugshot of an African American woman named Pearl Williams, charged with being a dishonest servant
• a 1906 mugshot of bartender Sam Davis (accused of pick pocketing) produced by detective Harry C. White of Harrisburg
• a ca. 1918 mugshot of Oliver Denton Bender taken in Columbus, Ohio, including an attached note that lists twelve of Bender’s known aliases
• a 1900 mugshot of Irishman John Mackey, charged with till tapping; two 1918 mugshots of Italian barbers Nicholas Shieno and Frank Rinaldo, both of whom were charged with flimflamming after being arrested in Scranton, Pennsylvania
• a 1918 mugshot of Jewish printer David Schleimer taken at the New York House of Refuge on Randall’s Island
• a 1917 mugshot of Michael J. Sullivan, charged with murder

The New Bedford whaling albums contain approximately 175 photographs in 4 albums pertaining to the whaling industry in New Bedford, Massachusetts.

The New Bedford whaling albums contain approximately 175 photographs in 4 albums pertaining to the whaling industry in New Bedford, Massachusetts. Of the four albums, three were likely compiled by photographer Joseph Sisson Martin while the fourth was published by New Bedford bookseller H. S. Hutchinson & Co. All four albums (30.5 x 26.5 cm) are leather bound and show considerable wear. The Hutchinson album has some flaking of the leather cover. There are some loose pages, but in general the albums remain intact.

In 1903, H. S. Hutchinson & Co. commissioned the album Cutting In a Whale (Volume 1), which documents the processing of a sperm whale carcass in graphic detail. The 25 gelatin silver images document various stages of the process, including the whale being carved up while alongside a ship and various pieces being hoisted onboard for rendering into whale oil and other commercial products. The original photographs were taken by photographer and accomplished travel writer Marian Shaw Smith, who herself was married to a whaling ship captain. Smith rode along on the bark California as it sailed to the western Pacific Ocean and then procuded the images that went into Cutting In a Whale, developing and printing her roll film while at sea. Each photo is accompanied by a detailed caption.

The other three albums in the collection (Volumes 2-4) were produced by New Bedford photographer Joseph Sisson Martin in the 1910s. Martin primarily photographed whaling ships and associated craftsmen who worked around the wharves, creating a nostalgic tribute to a disappearing industry. Two of these albums also contain many earlier pictures that were taken by other photographers dating back to as early as 1868 and reproduced by Martin. Although specific photographers were not identified or credited by Martin, a number of photographs can be traced to earlier works by Joseph G. Tirrell, a major chronicler of New Bedford's whaling industry. Several of Martin's selections from Tirrell's body of work differ slightly from the Tirrell images held by the New Bedford Public Library. The third Martin album (Volume 4) may possibly contain mostly his own work. The majority of the images in this album are from 1905-1918, and each photograph is dated and captioned in a more detailed manner than the other two Martin albums. Throughout all three of the Martin albums, there are occasional checks or crosses in red pencil present in the right-hand margins. It is not clear when these markings were made or what they signify, though they may possibly represent a selection of photos that were intended to be used for some other purpose. Additionally, in the first Martin album (Volume 2) there are seven photographs of engravings of whale chases, while there are also two photographs (one in Volume 2 and another in Volume 4) of the half-sized model whaler Lagoda located in the Old Dartmouth Historical Society (now kept at the New Bedford Whaling Museum.)

• A.E. Wayland (Volume 4)
• A.R. Tucker (Volumes 2, 3, and 4)
• Alice Knowles (Volume 4)
• Andrew Hicks (Volumes 2 and 4)
• Bertha (Volumes 2 and 4)
• Canton (Volumes 2 and 4)
• Catalpa (Volume 3)
• Charles W. Morgan (Volumes 2 and 4)
• Commodore Morris (Volume 3)
• Daisy (Volume 4)
• Desdemona (Volume 3)
• E.B. Conwell (Volume 4)
• Eliza Adams (Volumes 3 and 4)
• Evelyn (Volume 4)
• Falcon (Volume 3)
• Francis Barstow (Volume 3)
• Golden City (Volume 2)
• Greyhound (Volumes 3 and 4)
• Harry Smith (Volume 2)
• Horatio (Volume 4)
• James Arnold (Volume 3)
• Josephine (Volumes 2, 3, and 4)
• Josephus (Volume 3)
• Kathleen (Volume 2)
• Laconia (Volume 3)
• Lagoda (Volumes 2 and 4)
• Leonora (Volume 2)
• Massachusetts (Volume 3)
• Morning Star (Volumes 2 and 4)
• Niger (Volume 3)
• Pedro Varela (Volumes 2 and 4)
• Platina (Volumes 2 and 4)
• Progress (Volume 2)
• Rousseau (Volume 3)
• Sullivan (Volume 2)
• Sunbeam (Volumes 2, 3, and 4)
• Swallow (Volume 3)
• Tamerlane (Volume 3)
• Viola (Volume 4)
• Wanderer (Volumes 2 and 4)
• William Graber (Volume 4)

The New England family travel photograph album contains approximately 600 photographs that document the domestic life and foreign travels of an unidentified husband and wife couple from suburban Boston during the first decade of the 20th-century.

The New England family travel photograph album contains approximately 600 photographs that document the domestic life and foreign travels of an unidentified husband and wife couple from suburban Boston during the first decade of the 20th-century. The album (28.5 x 36 cm) has pebbled black leather covers with “Photographs” stamped in gold on the front. By and large, images are presented chronologically and many have extensive captions which mainly identify the locations pictured as well as certain individuals. It appears that many image captions were cut and pasted from white paper and added on top of pre-existing faded captions that had been written directly on the album pages. Some images that show people of African descent have subtly derogatory captions. Photographs showcasing the family’s domestic life include pictures of annual spring blooms in their backyard; friends and family; various domestic activities including interacting with pet cats; and regional outings such as visits to Mt. Washington, Point of Pines nature park in Revere, Massachusetts, and poet John Greenleaf Whittier's birthplace in Haverhill, Massachusetts.

In the summer of 1905, the couple travelled to Montreal and up the St. Lawrence River to Quebec City and beyond, resulting in the production of nearly ten pages of photographic highlights (pgs. 7-16). Later that summer, they also took photographs while vacationing in the Lake Sebago region of Maine with friends whom they later visited in Providence, Rhode Island (pgs. 16-20, 22). A visit to New Orleans, Louisiana, and Beauvoir, Mississippi, in December of 1906 is also documented (pgs. 30-37). In 1907 the couple undertook a period of extensive international travel beginning with a trip to England, Scotland, Ireland, Belgium, and France (pgs. 38-57). A second visit to Quebec in September 1907 is briefly represented (pgs. 57-58), while a series of pictures from a trip to St. Augustine, Florida, in April 1908 are also included (pgs. 59-62). Photographs related to two separate tours of the Caribbean and Central/South America in July and August of 1908 and March of 1909 make up a substantial portion of the album (pgs. 63-103); images from the first tour mainly include scenes from Caribbean islands such as St. Thomas, St. Croix, St. Kitts, Antigua, Guadeloupe, Dominica, Martinique, St. Lucia, and Barbados as well as British Guiana, while images from the second trip include scenes from Puerto Rico, Jamaica, Panama, Venezuela, Trinidad, Dominican Republic, and Cuba. Also present are several commercially-produced photographs, including a number of panoramic views, showing scenes from Mexico (pgs. 104-111). The majority of images taken during the couple’s travels consist of typical sightseeing photographs showing important cultural landmarks and historic buildings as well as street scenes, methods of transportation, and local people and industries. Throughout the album there are also numerous photographs taken aboard various transport vessels mid-voyage.

A few noteworthy historical events are minimally represented by photographs in this album, such as the January 15 1905 Washington Street Baptist Church fire in Lynn, Massachusetts (pgs. 2 & 3); the Quebec Bridge a few weeks after its collapse on August 29 1907 (pg. 57); the Great Chelsea Fire of 1908 (pg. 59); Panama Canal construction in 1909 (pgs. 87-89); long distance views of the site of the village of St. Pierre, Martinique, which was decimated by the volcanic eruption of Mt. Pelée on May 8 1902 (pg. 80); and the wreck of the battleship Maine in Havana Harbor (pg. 179). Individuals identified by captions throughout the album include Dr. Robert L. Bartlett (pgs. 4 & 89); “Miss Morse” (pg. 5); Stanley and Donald Clauss of Providence, Rhode Island (pgs. 17, 19 & 22); Hattie English, Lizzie English, “Mrs. Boynton,” and “Miss Lord” (pg. 19); Samuel Pickard (pg. 20); Jessie Pauline Whitney (pg. 21); "Mr. Little" (pgs. 19 & 22); William Rhodes (pg. 26); Maud Burdett (pgs. 38 & 58); George C. Hardin (pg. 74); Dr. Selah Merrill, American Consul in British Guiana (pg. 80); "Mrs. Parker" (pg. 85); and Hermann Ahrensburg (pg. 91). Other images of interest include a couple of photographs showing United States cavalrymen at camp in Lakeville, Massachusetts (pg. 2); a multiple exposure photograph showing the wife and other women (pg. 22); four photos showing a group of women that appear to be associated with a possible Masonic organization with the acronym “O.E.O.T.” (pg. 23); two photos of local boys diving in St. Lucia (pg. 72); a picture of a school for natives in St. Thomas where students were supposedly fined 10 cents a day for being absent (pg. 82); photos from Kingston, Jamaica, showing women working on a railroad and men operating a hand-made sugar mill (pg. 86); a group portrait of a baseball team in Venezuela (pg. 92); photos of the natural asphalt deposit Pitch Lake in Trinidad (pgs. 94 & 95); and photographs showing people with Brownie box cameras (pgs. 82 & 103).

The New London, Connecticut photograph album contains approximately 180 photographs mainly depicting rural areas, forests, lakes, and beach views in the vicinity of New London, Connecticut, as well as additional travel photographs taken in the 1930s in South Carolina, Florida, New Hampshire, Maine, and Massachusetts.

The New London, Connecticut photograph album contains approximately 180 photographs mainly depicting rural areas, forests, lakes, and beach views in the vicinity of New London, Connecticut, as well as additional travel photographs taken in the 1930s in South Carolina, Florida, New Hampshire, Maine, and Massachusetts. The album (29 x 21 cm) has brown cloth covers and is disbound. Connecticut-related images include a rustic cabin on Gardner Lake, the New London waterfront, and sailboats in the New London harbor. Also included are summer and winter views of a lodge exterior, and interior views showing Christmas decorations. Most photographs highlight natural features, with very few people included. Many images have manuscript captions, and a large number of photos have become loose.

Night Photos Taken Before and After the Earthquake and Fire is a photograph album containing 25 nighttime photographs of buildings and streets with electrical lighting in San Francisco, California, from 1901 to 1909.

Night Photos Taken Before and After the Earthquake and Fire is a photograph album containing 25 nighttime photographs of buildings and streets with electrical lighting in San Francisco, California, from 1901 to 1909.

The album (18.5. x 14.5 cm) has black cloth covers with “Photographs” gilt-stamped on front and black paper pages. An inscription on the inside of the front cover reads “Night Photos Taken Before and After The Earthquake and Fire by Cecil C. Cline S.F.” The photographer may possibly have been Cecil Cephas Cline (1884-1949), a San Francisco-based electrician. Buildings pictured include the Ferry Building, the Old Union Trust Building, the Old City Hall, the Tivoli Opera House, and more. While most photographs are exterior views, interior shots of the Ferry Building and Tivoli Opera House are also present.

Towards the back of the album one page is captioned “After the Earthquake and Fire.” Seven photographs are present in this section of the album including several images documenting the Portola Festival held in October, 1909, which was the first city-wide public event held in San Francisco after the 1906 earthquake.

The Noble Strong Elderkin family album consists of approximately 305 photographs, photomechanical prints, and assorted ephemera relating to the family of Congregational minister Noble Strong Elderkin.

The Noble Strong Elderkin family album consists of approximately 305 photographs, photomechanical prints, and assorted ephemera relating to the family of Congregational minister Noble Strong Elderkin. The album (32 x 29 cm) has a green cloth binding. Items of interest include photographs of family homes and churches in Boulder (Colorado), Las Vegas (New Mexico), Cragsmoor (New York), New Haven (Connecticut), and Ogden (Utah); gatherings on Paw Paw Lake, Michigan; a group of Chi Phi members posed in Atlanta, Georgia, for the congress of 1900; Pearl Street in Boulder during 1901; gambling houses on 25th Street in Ogden; and views of Taos, New Mexico. Several large format photographs show school groups, including the interior of the West Division Street Kindergarten; a group of schoolchildren with teachers posed outside a school building; and teachers leading schoolchildren in outdoor activities outside of a school in "Forestville."

Photomechanical prints show tourist attractions and scenic views in Great Britain and Belgium. Ephemeral items include newspaper clippings, some of which pertain to Tiwa Pueblo Indians at Taos; a program from the San Geronimo Feast and Taos Carnival, 1902; and a booklet of souvenir photographs from Las Vegas, New Mexico.

Subjects identified in photographs include: Gustav Lubeck, Albert Hunt, Eline Lubeck Elderkin, Frieda Washington, Elvira Lubeck, Charles McCoy, George Elderkin, Laura Leburg, Dr. Edward F. Williams, Bryant Harroun, Oscar Maurer, Lucius Porter, Eleanor Booth, Marian Booth, Tom Horn, Bernard Devoto, Alice Gunnell, Howard C. Riis, Judith Elderkin, Noble Elderkin, Jr., Louise Pierce, Georgiana Rogers, Leana Elderkin, Frank K. Sanders, Rebecca Holdstock, Amy Ford, Marjorie Richardson, Ruth Sinclar.

The Northern Michigan photograph collection contains an assortment of 43 photographic postcards, 28 mounted photographs, and 6 unmounted photographs showing people and scenes related to logging camp operations in northern Michigan, street views most likely from the town of Trenary, and road construction between Rapid River and Masonville.

The Northern Michigan photograph collection contains an assortment of 43 photographic postcards, 28 mounted photographs, and 6 unmounted photographs showing people and scenes related to logging camp operations in northern Michigan, street views most likely from the town of Trenary, and road construction between Rapid River and Masonville.

Per Albert Peterson (1886-1968), grandfather of collection donor Anne Peterson, is identified in two photographs. It is unclear whether members of the Peterson family took any of these photographs themselves. According to occasional annotations (many of which are not contemporary to when the photographs were taken), members of the “Johnson” family, including Oscar Johnson, John Johnson, and Manny Johnson, are the most frequently represented individuals. One group portrait of loggers is captioned “Wessling Johnson Camp” while another is captioned “Harry Schmit Camp 14.” Several postcards are addressed to an Eva Bannister located in Winters, Michigan, and a Henry Roos of Rapid River and Blaney, Michigan.

Depictions of logging camp operations include several group portraits that illustrate the size of a typical early 20th-century logging camp. A few images also highlight the cookhouse and social side of camp life, while there is also one photograph that shows the first motorized tractor used in log transport in the region. Other images show aspects of town and domestic life in Michigan’s Upper Peninsula from approximately 1908 to 1920. There are group portraits of railroad workers, ice cutters, maple sap gatherers, a baseball team; family members at home or being pulled in dog sleighs; and scenes of town life including a parade that appears to involve individuals dressed in blackface, an early movie theater, a fire engine, and a train crossing. One group portrait appears to have been taken around the 1940s.

A sequence of 13 photographic postcards provides a detailed overview of the stages of rural road construction in the early 1920s including views of trains unloading material onto conveyors, narrow-gauge gravel trains delivering materials to the work site, work crews and horse-drawn graders contouring the surface, and steamrollers compressing the roadbed. The postcards include brief annotations typewritten on the front of the cards.

The Norwalk, Ohio family photograph albums consist of two volumes containing approximately 560 photographs that depict an unidentified family, their homes, vacations, and construction of a house.

Volume 1: This album (29 x 36 cm) has black leather covers and black paper pages. Images include many affectionate pictures of children and pets as well as photographs of family vacations, homes, and the construction of a large house. At the end of the album, several photographs of children that appear earlier are replicated in larger formats.

Volume 2: This volume (35.5 x 43 cm) is a leather portfolio bearing an elaborate embossed elephant design on the front cover. Contained within is a series of thirty large format mounted photographs of the same house that is pictured while under construction in Volume 1. Photographs include views of surrounding natural scenery and gardens, exterior shots of the house, and images showing the porch and sunroom.

The Ost family photograph album (17.8 x 22.8 cm) contains approximately 60 portrait snapshots, including some taken at Belle Isle in Detroit, Michigan. There are several images of people wearing and holding the flag of the United States.

The Ost family photograph album (17.8 x 22.8 cm) contains approximately 60 portrait snapshots. The album is a souvenir from the 1933 Chicago World's Fair with "Gerard Ost" stamped on the front, but the photographs included were not taken at the World's Fair. Many of the photographs appear to have been removed from an earlier album and inserted into this album. The first three pages include photographs taken at Belle Isle in Detroit, Michigan, depicting groups of people, the conservatory, the Detroit Boat Club, beaches, and a seaplane on the Detroit River. Also included are many photographs of women and children with a large American flag. The majority of images are of groups of men, women, and children posing in front of houses.

The Pageant of the Dunes photograph album contains 92 photographs including snapshots of scenery in and around the vicinity of Chicago, Illinois, as well as images of the “Pageant of the Dunes” event held in Port Chester, Indiana, in 1917.

The Pageant of the Dunes photograph album contains 92 photographs including snapshots of scenery in and around the vicinity of Chicago, Illinois, as well as images of the “Pageant of the Dunes” event held in Port Chester, Indiana, in 1917.

The album (19 x 29 cm) is string-bound and has black paper covers and pages. Contents begin with images of Chicago scenery including views of Navy Pier, Edgebrook, and the Chicago River, while the following section features several images that appear to be related to an exhibition of statues of World War I soldiers at an unidentified venue. Photographs in the section captioned “Pageant of the Dunes, 1917” consist of images of crowds as well as actors and actresses, including some dressed as Native Americans. Three photographs dated to 1918 are also present.

The Pan-American Expo and Travel photograph album (17 x 19 cm) has 60 amateur gelatin silver prints consisting of architectural photographs taken at the 1901 Pan-American Exposition in Buffalo, N.Y, as well as photographs of Niagara Falls, General Grant’s Tomb, and caged animals at the Central Park Zoo in New York City. The album also includes images of the Old Fort in Annapolis, Nova Scotia, and shipbuilding in Yarmouth, Nova Scotia. There are also images of the U.S. Navy Battleships U.S.S. Kearsarge, Indiana, and Texas.

The Pan-American Expo and Travel photograph album (17 x 19 cm) has 60 amateur gelatin silver prints, 18 of which are architectural photographs taken at the 1901 Pan-American Exposition in Buffalo, N.Y. It also includes 4 photographs of what appears to be a demonstration of Coast Guard lifesaving procedures. Other views show a War of 1812 cannon on display, Niagara Falls, General Grant’s Tomb, and caged animals at the Central Park Zoo in New York City. The album also documents a trip to Fort Independence in Boston, as well as to Nova Scotia and New Brunswick, including images of the Old Fort in Annapolis, N.S., and shipbuilding in Yarmouth, N.S. There are also images of the U.S. Navy Battleships U.S.S. Kearsarge, Indiana, Texas. Also of note are a group of 4 photographs of the St. John's River and harbor in New Brunswick accompanied by a newspaper clipping describing the tidal movements in the harbor. All of the photographs in the album are accompanied by handwritten captions.

The album has a brown cover inscribed with the title "Photographs," and is housed in a light blue box.

The Paul A. Meunier photograph albums consist of three large volumes documenting the experiences of the U.S. Army 941st Engineering Aviation Topographical Battalion during World War II including basic training in the United States in 1942, assignments in Tunisia and Italy, and the journey home via the Pacific following the conclusion of the war.

The Paul A. Meunier photograph albums consist of three large volumes documenting the experiences of the U.S. Army 941st Engineering Aviation Topographical Battalion during World War II including basic training in the United States in 1942, assignments in Tunisia and Italy, and the journey home via the Pacific following the conclusion of the war.

All three albums in the collection are 46 x 57 cm in size and have black covers and black paper pages. Each album contains approximately 1,000 photographs. Being a professional artist, Meunier’s attention to detail and exactness is evidenced by the presence of faint framing lines an inch from page margins, with photos carefully arranged within the frames. Numerous captions are present in white ink and neatly printed in appropriate size. Since the three albums present in this collection are titled “Volume 3,” “Volume 4,” and “Volume 5,” it is presumed that Meunier likely produced at least five albums total. Both official photographs as well as personal snapshots taken by Meunier himself are included.

Album A ("Volume 3"): This album documents Meunier’s military service starting from June 1942 when he departed Cleveland for basic training, initial U.S. deployments, his assignment to Tunisia, and his unit’s journey across the Mediterranean Sea to Italy in December 1943. Many snapshot views of street scenes in Tunis and other places in North African Meunier explored while on leave as well as copies of official U.S. Army photographs recording visits to Tunis in 1943 by high-ranking U.S. officials (including Secretary of War Henry Stimson and Generals Eisenhower and Spaatz) are present.

Album B ("Volume 4"): This album documents the transfer of Meunier’s unit to San Severo, Italy. Images of particular interest show the unit working on the production of large-scale lithographically produced bird’s-eye view maps with designated bombing targets charted out. Visits while on leave to Naples, Capri, and Amalfi are also thoroughly represented. Also present is a hand-drawn map of the streets of San Severo and an annotated aerial view of Capri.

Album C ("Volume 5"): This album includes official photos of airborne fighter planes and bombers, aerial views of target sites, and artwork by a fellow soldier. Meunier’s snapshots show soldiers at work as well as on tourist visits to famous Italian sites such as Rome, Florence, Pisa, and Pompeii. Although materials are not arranged in strict chronological order, this volume covers a period of time from when Meunier’s company was headquartered in Bari in mid-1944 to his journey home by ship through the Panama Canal in mid-1945. Also present are a handful of views of the eruption of Mt. Vesuvius in 1944.

The Pictorial Record of the United States Army Air Forces 90th Bombardment Group consists of two volumes containing 1 manuscript item and approximately 412 photographs documenting the activities of the USAAF 90th Bombardment Group during the New Guinea campaign of War World II.

Materials are housed in plastic sleeves contained in two green-colored 3-ring binders (30 x 33 cm). All photographs are gelatin silver developing-out prints and for the most part measure between 10 x 12 cm and 26 x 20 cm in size. Numerous images bear stamps that state “Passed by U.S. Army Examiners.” Most images do not have captions, though a small number do have typescript captions on their versos.

Volume A:

Volume A contains approximately 186 photographs as well as 1 manuscript item. The volume begins with a one-page typescript document issued ca. 1944 that is addressed to the 400th Bomb Squadron 90th Bomb Group, stating the photographs are intended to be “the Pictorial Record of Our Unit.” The letter is signed by Maj. C. Vernon Ekstrand of the U.S. Army Air Corps. Photographs include a composite portrait of the 90th Bomb Group members, individual and group portraits of 90th Bomb Group members, a group portrait of Japanese military personnel, images of Allied military facilities, Japanese warships being bombed, military aircraft shown both midair as well as on the ground, what appears to be an abandoned Japanese tank, and numerous landscape views. Also present are several images showing aircraft nose art. Of particular interest are various pictures documenting interactions with native Papuan people including individual and group portraits as well as photographs of Papuan settlements and structures (including churches).

Volume B:

Volume B contains approximately 226 photographs. This volume includes a substantial number of pictures of indigenous Papuan individuals, children, and families, including several portraits of nude women (including mothers breastfeeding), as well as images showing traditional Papuan body modifications and tattoos. Of particular note are images that appear to document a Papuan ceremony that showcases elements of traditional Papuan clothing, music, and ritual dance, as well as a photograph of a Papuan trumpet player. Other items of interest include numerous images documenting USO performers (including Bob Hope and Patty Thomas) and a series of aircraft nose art photographs that include several works signed by Cpl. Al G. Merkling. Images of airborne planes and landscape views also feature prominently in this volume.

The Richard Pohrt, Jr. Collection of Native American photography contains approximately 1,470 photographs pertaining to Native Americans and Native American history from the 1850s into the 1920s. The majority of photographs are individual and group portraits of people from tribes west of the Mississippi, with the Apache, Cheyenne, Crow, and Lakota/Dakota being particularly well represented. The collection contains both studio and outdoor photographs and reflects the dramatic upheavals in Native American life that occurred as a result of the expansion of the United States of America.

The Richard Pohrt, Jr. Collection of Native American photography contains approximately 1,470 images pertaining to Native Americans and Native American history taken between the 1850s and 1940s. The majority of photographs are individual and group portraits of people from tribes west of the Mississippi, with the Apache, Cheyenne, Crow, and Lakota/Dakota being particularly well represented. The collection contains both studio and outdoor photographs and reflects the dramatic upheavals in Native American life that occurred as a result of the expansion of the United States of America.

For clarity, in this finding aid the most widely-used Anglicized naming conventions have been used for most Native American tribes and individuals. Individual catalog records address the full complexities of these issues and include the most commonly used Anglicized and indigenous names and their variants.

After consulting a number of Native American representatives and scholars, it was determined that select images within the collection will not be digitized on account of the culturally sensitive nature of their content. However, culturally sensitive images have still been cataloged and are available for researchers in the reading room along with the rest of the collection.

Overall, upwards of 70 Native American tribes and subtribes (primarily those west of the Mississippi and in the Midwest) are represented throughout the collection. The amount of material pertaining to each tribe varies considerably. For example, approximately 235 photographs relate to the Lakota and Dakota, while the Hopi and Kootenai tribes are each represented in just one photograph respectively.

All of the individual photographs, albums, and portfolios have been cataloged individually. For more detailed information on specific images, please use the UM Library Search.

With the exception of items deemed to contain culturally sensitive content, all materials in the Pohrt Collection have been digitized and can be accessed online through the Pohrt digital collection platform.

In addition, the Clements Library has also created a Richard Pohrt, Jr. Collection - Partial Subject Index and a Richard Pohrt, Jr. Collection - Contributor Index to help navigate the collection.

The following list provides information on photographs (including select call numbers) pertaining to the 13 most well-represented Native American tribes in the collection as well as other items of interest. For a complete list of all tribes represented in the collection, see the Additional Descriptive Data section.

Algonquian Blackfeet

Approximately 28 photographs pertain to the three affiliated Algonquian Blackfeet tribes (Kainah, Siksika and Piegan) present in the collection. Items of particular interest include 18 studio portraits of Algonquian Blackfoot chiefs made by Tomar J. Hileman in the late-1920s (LARGE Hil.001 - LARGE Hil.018) which serve as prime examples of romanticized depictions of Indians produced in the early 20th century. Other images of note include two studio portraits of Piegan chief Three Calves taken by Mabelle Haney in 1920 (OVERSIZE Han.001 & OVERSIZE Han.002); two photographs likely taken by Thomas B. Magee in the late 1890s showing an Algonquian Blackfoot medicine man named Calf Shirt performing a ritual ceremony involving a live rattlesnake (LARGE Mag.001 & LARGE Mag.002); and two more outdoor portraits by Magee showing construction of a medicine lodge and ceremonial dancers standing before the finished lodge (BOU Mag.001 & BOU Mag.002).

Anishinaabe (Odawa, Ojibwa, and Potawatomi)

Approximately 168 photographs in the collection pertain to the Anishinaabe.

The majority of the Anishinaabe-related images in the collection (approximately 115 photos) were taken by Grace Chandler Horn between 1899 and 1912 near Petoskey, Michigan (GCH.004 - GCH.043 & GCH.050 - GCH.118). The photography shop operated by Horn in Petoskey was a major tourist attraction built around the annual "Hiawatha Pageant" performed by local Odawa actors as well as Ojibwa actors from the Garden River First Nation in Canada. Her portraits of actors and actresses involved in the Hiawatha shows are heavily represented in the collection. These images are considered prime examples of the romanticized depictions of Indians of the period and document a major Michigan tourist attraction of the time. The actors and actresses depicted in these photographs have not been identified, therefore their specific tribal affiliations have been assumed to be either Odawa or Garden River Ojibwa. The Grace Chandler Horn materials also include four photos of Odawa woman Sophia Assinaway at her home garden in Middle Village, Michigan (GCH.022 - GCH.025). Two printed items related to Grace Chandler Horn (a sample booklet of her photography and a Hiawatha Pageant libretto illustrated with Horn photographs) are also contained in Box 21.

In addition to the Grace Chandler Horn photographs, approximately 48 photos relate to the Ojibwa. Items of particular interest include portraits of Ojibwa men involved in the Dakota War of 1862 taken by Minnesota photographer Joel E. Whitney (CDV WhiJ.017 - CDV WhiJ.028, CDV WhiJ.036 & CDV WhiJ.037); stereographs by Whitney and assistant Charles Zimmerman showing Ojibwa wigwams (STE Whi-Zim.001), canoe-building (STE Whi-Zim.002 & STE Whi-Zim.002); Leech Lake Ojibwa during a payment transaction (STE Whi-Zim.004); and a studio portrait of White Cloud (STE Whi-Zim.005). Also present are photos by Zimmerman showing an Ojibwa deer hunt (STE Zim.002), Sky Down to the Earth (STE Zim.003) and To Keep the Net Up (STE Zim.004).

Other images of note include an outdoor portrait of the "Rapids Pilot" John Boucher seated in his canoe by B. F. Childs (STE Chi.002); three studio portraits of Buhkwujjenene by Thomas Charles Turner and Sydney Victor White taken during a trip to England in 1872 with Rev. Edward Francis Wilson in order to raise funds for the Shingwauk Indian Residential School (CDV Tur.001, CDV Tur.002 & CDV Whi-Whi.001); three studio portraits of Saginaw Band Ojibwa leader David Shoppenagon by Armstrong & Rudd and George H. Bonnell (CAB Arm-Rud.002, CAB Bonn.001 & CAB Bonn.002); an outdoor group portrait by Hoard & Tenney of five unidentified Ojibwa men at White Earth Indian Reservation in Minnesota (STE Hoa-Ten.001); views by T.W. Ingersoll showing Ojibwa women tanning buckskins and crafting birch canoes (STE Ing.001 & MEDIUM Ing.001); a Leech Lake Ojibwa family posing outside their wigwam (MEDIUM Bro.001); and an outdoor group portrait taken by Dan Dutro in the mid-1910s of several Cree and/or Ojibwa men partaking in a dance ceremony at Rocky Boy's Indian Reservation, Montana (BOU Dut.002).

The approximately 13 Potawatomi-related photographs in the collection mostly pertain to the Prairie Band Potawatomi Nation in Kansas. Items of particular interest include studio individual and group portraits such as Shipshewana & Madeline Lasely (CAB Uni.017); Shob-ne-kak-kak with unidentified wife by Oaks & Ireland (CAB Oak-Ire.001); a studio group portrait by W. M. Oaks of two unidentified Prairie Band Potawatomi women posing with a photograph of what may be a deceased relative (CAB Oak.001); and two portraits of Nancy Weeg-was alone and with husband Weeg-was (CAB Uni.015 & CAB Oak.002). Other materials include a group portrait of Potawatomi and white American individuals posing outside of a storefront on the Prairie Band Potawatomi Reservation in Kansas (MEDIUM Uni.004) and an image captioned "The Reserve Dudes" depicting a group of nine Prairie Band Potawatomi men who performed at Wild West Shows (LARGE Uni.003).

Apache

Approximately 68 Apache-related photographs are present. Specific Apache tribes represented include the Chiricahua, Jicarilla, Kiowa Apache, Mescalero, Mimbreño, and White Mountain Apache. Of particular note are eight boudoir photographs and one framed group portrait by C. S. Fly (BOU Fly.001 - BOU Fly.008 & FRAMED 10), the majority of which relate to the apprehension of Geronimo and his followers in 1886. Other photographs of interest include a series by Andrew Miller depicting daily life on the San Carlos and Fort Apache reservations in the 1880s (CAB MilA.001, CAB MilA.002 & BOU MilA.001 - BOU MilA.009); portraits of Apache women and scouts such as Nan-tag-a-ra, Dandy Jim and Santiago by Henry Buehman (CAB Bue.002 & STE Bue.001 - STE Bue.007); and outdoor group portraits of Chiricahua prisoners of war including Naiche and Geronimo being held at Fort Sam Houston taken by Frank Hardesty (BOU Har.001 & BOU Har.002).

Studio portraits include photographs by A. Frank Randall of Geronimo, Bonito, Dutche, husband and wife Ze-le & Tzes-Tone, Something-at-the-campfire-already-cooked (wife of Cochise), Old Nana, and Mescalero chief San Juan (BOU Ran.001 - BOU Ran.013). Also present are studio portraits of Apache chiefs and scouts such as Bonito, Chatto, Nalte, and Peaches by Ben Wittick (BOU Wit.001 & BOU Wit.003 - BOU Wit.005); Geronimo while prisoner of war at Fort Sill taken by William E. Irwin (BOU Irw.010, BOU Irw.011 & BOU Irw.024); and a Lenny & Sawyers photograph of a Kiowa-Apache man identified as "Apache Jim" (BOU Len-Saw.005).

Of further interest are photographs of Apache scouts with German-American chief of scouts Al Sieber taken by J. C. Burge (STE Bur.001 & STE Bur.002); group portraits of Apache scouts including Mickey Free, a Mexican-born Apache scout kidnapped by the Pinal Apache as a child and adopted into the tribe (STE WilW.001 & STE Bue.006); an outdoor group portrait by C. S. Fly showing Jimmy "Santiago" McKinn, a white American settler kidnapped as a child by Geronimo's band (BOU Fly.001); and several images of Apache individuals encountered during the Wheeler Expedition taken by Timothy O'Sullivan (STE Wheeler.031 - STE Wheeler.033, STE Wheeler.041, STE Wheeler.042, STE Wheeler.051 & STE Wheeler.052).

Cheyenne

Approximately 53 Cheyenne-related photographs are present in the collection, including photographs of both Northern and Southern Cheyenne, the latter of which are now part of the Cheyenne and Arapaho Tribes of Oklahoma.

Between 1875 and 1878, several dozen Southern Cheyenne, Southern Arapaho, Comanche, and Kiowa Indians as well as one lone individual from the Caddo tribe were imprisoned at Fort Marion in Saint Augustine, Florida, for their roles in the Red River War. While imprisoned, these chiefs, warriors and their families became a major tourist attraction. The Pohrt Collection contains numerous images of the Fort Marion prisoners taken by photographers such as J. N. Wilson, O. Pierre Havens, and George Pierron; of particular note are stereograph portraits of Southern Cheyenne chiefs Howling Wolf (STE Hav.001 -STE Hav.003), Medicine Water (STE Hav.005 & STE Hav.006), Mochi (STE Hav.006) and a tintype of Making Medicine made by an unidentified photographer (CASED Uni.006).

Other photographs include images purportedly related to a Southern Cheyenne & Arapaho Ghost Dance ceremony taken by C. C. Stotz in 1890 (BOU Sto.001 & BOU Sto.002); a group portrait of prisoners from Dull Knife's band taken by J. R. Riddle in 1879 (STE Rid.001); a studio portrait of two-spirit person Glad Road by Cosand & Mosser (CDV Cos-Mos.001); outdoor portraits by John K. Hillers of Cheyenne chiefs that attended the Grand Council in Okmulgee in 1875 (STE Hil.001 – STE Hil.003); a studio portrait of White Buffalo taken around the time of his arrival at the United States Indian Industrial School in Carlisle, Pennsylvania (BOU Cho.001); a studio portrait by William E. Irwin of Gertrude Threefinger wearing an elk-tooth dress (BOU Irw.003); and two panoramic views by Henry C. Chaufty depicting a supposed Southern Cheyenne Sun Dance gathering in 1909 as well as a Southern Cheyenne & Arapaho fair at Watonga, Oklahoma, in September of 1912 (FRAMED 1 & FRAMED 4).

Crow (Apsáalooke)

Approximately 94 Crow-related photographs are in the collection. On account of their historical enmity with neighboring tribes such as the Lakota/Dakota, Arapaho, and Cheyenne, the Crow firmly allied themselves with the United States and provided numerous scouts for many U.S. military expeditions in the second half of the 19th century. Several portraits of Crow scouts are present in the collection, including photographs of Curley (CAB BarD.019, MEDIUM BarD.003, STE Rin.006 & PORTFOLIO 1B) and White Swan (BOU MilF.001 & BOU MilF.002), both of whom were present at the Battle of the Little Bighorn.

Other images of note include a series of 56 stereographs by Frank A. Rinehart at Crow Indian Reservation in Montana at the turn of the 20th century (STE Rin.001 - STE Rin.056) consisting of views showing daily reservation life, ceremonies and dances, as well as individual, group, and family portraits, including one photograph of chief Plenty Coups speaking to a crowd about counting coup.

Also of interest are three images showing Plenty Coups and others present at the unveiling ceremony for the Tomb of the Unknown Soldier (FRAMED 11 - FRAMED 13); photos by O. S. Goff of Crow scouts including Bear Don't Walk and members of "L" Troop, 1st Cavalry (BOU Gof.001, BOU Gof.002, & MEDIUM Gof.003); portraits of Crow chiefs and men including Hoop on Forehead, Bear in a Cloud, and Spotted Rabbit, as well as scenes from Crow Indian Reservation by Fred E. Miller (BOU MilF.003, BOU MilF.004, LARGE MilF.001, LARGE MilF.002 & MEDIUM MilF.001 - MEDIUM MilF.005); portraits of Crow chiefs including Grey Bear, Old Coyote, Hoop on Forehead, Spies on Enemies, Big Medicine Man, Chief Little Head and Old Coyote by F. Jay Haynes (STE Hay.001 & CAB Hay.001 - CAB Hay.009); and a group portrait by an unidentified photographer of Crow prisoners of war including Crazy Head and Coups Well Known being held at Crow Indian Agency following the Crow War of 1887 (LARGE Uni.018).

Ho Chunk (Winnebago)

22 Ho Chunk-related photographs are in the collection. Items of particular interest include stereographs by H. H. Bennett of Yellow Thunder purportedly at the age of 120 (STE Ben.002), a Ho Chunk woman tanning a deerskin (STE Ben.001), a studio portrait of Big Bear (STE Ben.004) and a group of Ho Chunk men playing "Wah-koo-chad-ah" or the Moccasin Game (STE Ben.003).

Other items of note include a group portrait by Charles Van Schaik of Clara Blackhawk and her infant son Andrew (CAB Van.002); another Van Schaik portrait of Little Soldier and wife Bettie (CAB Van.001); a studio portrait by Joel E. Whitney of Chief Little Hill (CDV WhiJ.030); a studio group portrait by W. H. Illingworth of Walk in the Evening and Bear Skin (STE Ill.003); studio portraits of Chief Big Hawk and son David Big Hawk (CAB Uni.020 & CAB Uni.021); a studio group portrait by Brown & Wait of several Ho Chunk men including one individual who appears to possibly have smallpox scars (CAB Bro-Wai.001); a studio group portrait of an unidentified Ho Chunk man from Nebraska posing with Fox chiefs Wa-Wa-Ta-Sah and Ma-Tau-E-Qua (MEDIUM Uni.003); and two outdoor group portraits of Ho Chunk Indians in Wisconsin partaking in a church ceremony (BOU Uni.005 & BOU Uni.006).

Two tintypes, one of an unidentified Ho Chunk father and son (CASED Uni.001) and the other a group portrait of several children (CASED Uni.002), are also present.

Kiowa

Approximately 40 Kiowa-related photographs are present in the collection. Items of particular interest include 19 studio and outdoor individual and group portraits taken by William E. Irwin of Kiowa men, women and girls including Daisy Waterman (BOU Irw.008), Anne "Kiowa Annie" Berry (BOU Irw.004 - BOU Irw.006), Millie Oytant and "Cora" (BOU Irw.007), Joe Goombi with two daughters (BOU Irw.009), Lone Wolf the Younger (BOU Irw.013 & BOU Irw.023), Lone Wolf the Younger's mother Big Black Hair (BOU Irw.014), Poor Buffalo (BOU Irw.017), Kiowa and Comanche scouts near Anadarko(BOU Irw.018 & BOU Irw.019), and Ahpeatone (MED Irw.001).

Also present are five group portraits showing Kiowa prisoners of war at Fort Marion (STE Hav.004, STE Pie.001, STE Pie.002, STE Wil-Hav.001, STE Uni.004 & STE Uni.009); studio portraits of Kiowa girls and children by Lenny & Sawyers (BOU Len-Saw.001, BOU Len-Saw.009 & BOU Len-Saw.013); a studio portrait of Ahpeatone by Trager and Kuhn misidentified as Oglala Lakota chief Young Man Afraid of His Horses (CAB Tra-Kuh.001); a studio group portrait by W. P. Bliss of Gotebo with an unidentified individual (CAB Bli.002); a studio portrait of a Kiowa girl identified as "Ka-o-ta" produced by George W. Bretz (CAB Bre.003); and a group portrait of three unidentified Kiowa girls wearing elk-tooth dresses by C. C. Stotz (CAB Stot.001).

Modoc

The 19 Modoc-related images in the collection include a series of stereographs created by Eadweard Muybridge during the Modoc War of 1872-73 (STE Muy.001 - STE Muy.011). They depict the lava bed landscape, the U.S. army camp near Tule Lake, army scouts from the nearby Warm Springs Indian reservation led by Donald McKay, and the camp of the Modoc warrior Shok-Nos-Ta. Two of the photos depict Modoc women involved in the conflict, including interpreter Toby Riddle as well as a group of Modoc women taken as prisoners of war.

Other items of interest include four studio portraits by Louis Herman Heller of Modoc prisoners of war in 1873 such as the family of Captain Jack (CAB Hel.001), the "Lost River Murderers" (CAB Hel.002), Schonchin (CAB Hel.003), and Bogus Charley (CAB Hel.004), as well as four studio portraits by David C. Herrin produced in the late 1890s showing Klamath men described as having assisted the United States during the Modoc War (CAB Herr.001 - CAB Herr.004).

Nez Percé (Nimiipuu)

13 photographs in the collection have content pertaining to the Nez Percé. Items of particular interest include individual portraits of Chief Joseph (MEDIUM BarD.004, MEDIUM Bow.001, PORTFOLIO 1C); a tintype by an unknown photographer of an unidentified Nez Percé warrior (CASED Uni.003); a studio portrait of Chief Yellow Bull by C. M. Bell in Washington D.C. (OVERSIZE Bel.001); three images produced by W. H. Partridge showing Nez Percé families and homesteads in Oregon including visuals of tipis and a horse corral (BOU Par.001 - BOU Par.003); two studio portraits of "Steps", a Native American man adopted into the Nez Percé tribe (CAB Bai-Dix.002 & CAB BarD.020); and a group portrait by Ebenezer E. Henry showing Chief Joseph, Yellow Bull, Charles Moses, and another unidentified Nez Percé chief while being held as prisoners of war at Fort Leavenworth in 1877 following the cessation of the Nez Percé War (BOU Hen.001).

Oto

21 photographs in the collection relate to the Oto and Otoe-Missouria. Images of particular note include studio portraits of White Horse by Thomas Croft (CAB Cro.001 & CAB Cro.002); studio group and individual portraits of Oto chiefs including William Faw Faw, White Horse, Huma, Opanomnina and Parthayne by Lenny & Sawyers (BOU Len-Saw.004, BOU Len-Saw.006, BOU Len-Saw.007 & BOU Len-Saw.011); a studio portrait of Standing Eating by John K. Hillers in Washington D.C. (CAB Hil.001); an outdoor group portrait of an unidentified Oto family in Indian Territory posing in front of their home (MEDIUM Uni.014); an individual and group studio portrait showing Chief George Dailey (CAB Uni.008 & CAB Uni.009); three photos by William S. Prettyman including two studio portraits of unidentified Oto groups as well as an outdoor group portrait of the family of Baptiste DeRoin(CAB Pre.001, BOU Pre.001 & BOU Pre.002).

Sac & Fox

21 photographs relate to the Sac & Fox tribes, predominately consisting of images related to the Sac & Fox tribes of Iowa, Oklahoma, and to a lesser extent Kansas. Items of particular interest include several studio portraits of Iowa-based Sac & Fox individuals (known today as the Sac and Fox of the Mississippi in Iowa) taken by photographers H. C. Eberhart, J. L. Hudson, and J. S. Moore during the 1880s (CDV Eber.001, CAB Hud.001, CDV Hud.001, CDV Hud.002 & CAB Moo.002 - CAB Moo.008); a group portrait by Oakes & Ireland of a Kansas-based Sac and Fox ceremonial dancer with his son (CAB Oak-Ire.002); an outdoor group portrait taken by William S. Prettyman around 1895 showing a group of people from the Sac & Fox Mokohoko band including Chief Paw-She-Paw-Ho (LARGE Pre.001); a studio portrait of Walter Battice by John K. Hillers taken sometime during the early 1920s before Hillers' death in 1925 (BOU Hil.001); a group portrait of a Sac & Fox Nation of Oklahoma man at home with his wife and sleeping infant child (STE Key.001); two studio portraits of Sac & Fox chiefs taken by C. M. Bell in Washington D.C. (OVERSIZE Bel.002 & OVERSIZE Bel.003); a studio group portrait of an unidentified Ho Chunk man from Nebraska posing with Fox chiefs Wa-Wa-Ta-Sah and Ma-Tau-E-Qua (MEDIUM Uni.003); a studio group portrait by J. L. Hudson of Charles Keokuk and an unidentified Sac & Fox Tribe of the Mississippi in Iowa chief (CDV Hud.002); as well as a studio portrait of a Sac & Fox chief claimed by the unidentified photographer to be a grandson of Black Hawk (CDV Uni.003).

Lakota and Dakota

Over 240 photographs pertain to the Lakota and Dakota (also commonly referred to collectively as the Sioux, a term that has pejorative origins). The Dakota consist of three sub-tribes (the Santee, Yankton, and Yanktonai) while the Lakota consist of seven sub-tribes; the Sicangu (Brulé), Oglala, Miniconjou, Hunkpapa, Itázipco (Sans Arc), Sihasapa, and Oóhenunpa. The Pohrt Collection contains photos related to all three Dakota sub-tribes as well as photos related to every Lakota sub-tribe except for the Oóhenunpa.

The majority of the approximately 40 images in the collection related to the Santee Dakota were taken around the time of the Dakota War of 1862 in Minnesota, when several bands initially led by Chief Little Crow revolted against federal Indian agents who had regularly failed to supply promised foodstuffs and annuities. After several months of fighting, most of the Santee surrendered and thirty-eight were eventually executed in Mankato, Minnesota, on December 26th 1862 in what remains the largest mass execution in U.S. history. Items of particular interest include four photographs taken by Adrian Ebell prior to and during the outbreak of the conflict (CDV Ebe.001 & STE Ebe.001 - STE Ebe.003); three photographs by B. F. Upton showing Santee prisoners of war at Fort Snelling including Little Crow's sons White Spider and Thomas Wakeman (STE Upt.001, CDV Upt.001 & CDV Upt.002); as well as 21 studio portraits produced by Joel Whitney depicting Santee prisoners of war, many of whom were among the executed at Mankato (STE WhiJ.002, STE WhiJ.003, STE WhiJ.034, CDV WhiJ.001 - CDV WhiJ.010, CDV WhiJ.012 - CDV WhiJ.016 & CDV WhiJ.032 - CDV WhiJ.034). Also present is an outdoor group portrait of Santee men taken by T. W. Ingersoll in the 1890s (MEDIUM Ing.002); a studio portrait of Wabasha III (CAB Lak.001); a Stanley J. Morrow studio portrait of an elderly Santee woman named Sacred Blanket purported to be 133 years old (STE MorS.036); and a studio portrait of Abbie Gardner Sharp, a white American woman who survived being captured by Santee raiders after the Spirit Lake Massacre of 1857 in Iowa in an incident which is generally considered a precursor to the Dakota War (CAB Uni.022).

Other Santee materials include several portraits of physician Dr. Charles Eastman taken by Grace Chandler Horn in the 1910s (GCH.001 - GCH.003 & GCH.044 - GCH.049). Dr. Eastman, grandson of U.S. Army officer and renowned artist Seth Eastman, attended Dartmouth College and then Boston University's medical school, becoming one of the first Native Americans certified as a western-style doctor. He later established the Indian YMCA and helped found the Boy Scouts of America, as well as becoming a national spokesman for Native Americans.

Images of particular interest involving the Yankton Dakota include an outdoor group portrait of Struck-by-the-Ree and Feather Necklace by Stanley J. Morrow (STE MorS.020); a group portrait taken by O. S. Goff of fifteen unidentified Yankton chiefs with an Indian Agent (MEDIUM Gof.001); two photos by W. R. Cross consisting of a studio portrait of an unidentified Yankton man (CDV Cro.005); and a composite photograph showing twelve different photographs of Native Americans from Dakota Territory including an image of a Yankton scaffold burial (BOU Cro.001).

Yanktonai Dakota images of interest include photos by D. F. Barry of Standing Rock Indian Reservation policeman Henry Bull Head who reportedly shot Sitting Bull after having been mortally wounded himself during the arrest (CAB BarD.011); an elevated outdoor group portrait taken during the 1885 census at Standing Rock (MEDIUM BarD.001); a studio portrait of interpreter and scout John Bruguier by George Spencer (CAB Spe.013); two studio portraits of Mad Bear (CAB BarD.017 & CAB Sco.005); stereographs by Stanley J. Morrow showing Yanktonai chiefs Black Eye, Bloody Mouth, Afraid of the Bear (STE MorS.019) and Medicine Bear (STE MorS.003 & STE MorS.004); and a studio portrait of Wolf Necklace by O. S. Goff (STE Gof.008).

• Sitting Bull (CDV Cro.001, CDV Cro.002, BOU Cro.001, CAB Gof.001, CAB Uni.001, CAB Uni.002, CAB Bai-Dix.001, CAB Sco.004, CAB Pal-Jur.001, CAB Pal-Jur.002, LARGE BarD.001, CAB BarD.001, CAB BarD.002, CAB Not.001, LARGE Clo.001, PORTFOLIO 1A & PORTFOLIO 1C)
• Gall (CAB Gof.002, CAB Sco.006, CAB BarD.013, MEDIUM BarD.001, LARGE BarD.002, PORTFOLIO 1A & PORTFOLIO 1C)
• Rain in the Face (CAB BarD.008, CAB BarD.009, CAB Sco.001, CAB Spe.001, CAB Spe.002 & PORTFOLIO 1A)
• Spotted Tail (CDV Cro.003, CDV Gur.001, STE Cur.001, STE MorS.028, MEDIUM Cho.011 & CAB Cho.003)
• Iron Wing (MEDIUM Cho.002 & CAB Cho.003 - CAB Cho.005)
• American Horse (CAB Cho.004, CAB Cho.007, MEDIUM Tru.001, MEDIUM Tru.002 & PORTFOLIO 1A)
• Crow Dog (Albums 1, LARGE Gra.009, BOU Tra-Kuh.022, PORTFOLIO 1A)
• Plenty Horses (STE Gra.001, LARGE Butt.001 & FRAMED 6)
• Big Foot--Miniconjou (STE MorS.023 & BOU Tra-Kuh.013)
• Jack Red Cloud (LARGE Gra.011, BOU Uni.007 & CAB Spe.003)
• Two Strike (CAB Cho.003, BOU Tra-Kuh.001, BOU Tra-Kuh.016, BOU Tra-Kuh.022, BOU Tra-Kuh.023)
• Iron Tail (BOU Uni.003 & LARGE Uni.017)
• Red Cloud (STE Cur.001 & PORTFOLIO 1A)
• Luther Standing Bear (BOU Cho.007 & MEDIUM Cho.010)
• One Bull (CAB Bai-Dix.003 & CAB Pal-Jur.001)
• Louis Roubideaux (CAB Cho.003)
• Charles C. Tackett (CAB Cho.003)

Several photos are related to the Ghost Dance movement on the Lakota reservations and the subsequent buildup to and aftermath of the Wounded Knee Massacre. Specific items of interest regarding the Lakota Ghost Dance movement include a secret photo taken by Sam T. Clover without the subjects' permission of a Ghost Dance feast in which Sitting Bull supposedly stands at center (LARGE Clo.001); a photograph by James E. Meddaugh showing a Ghost Dance being performed by Oglala Lakota men and women at Pine Ridge (CAB Medd.001); an outdoor portrait by George W. Scott of a Lakota woman named Scarlet Woman who had been arrested in November of 1890 for proclaiming to be the "mother of the Messiah" (CAB Sco.003); and several individual and group portraits by Trager & Kuhn of Lakota chiefs both involved with and opposed to the Ghost Dance movement, including Kicking Bear, Stinking Bear, Hollowood, Crazy Bear, Crow Dog, Two Strike, Young Man Afraid of His Horse, Good Lance, Short Bull, High Hawk and Big Talk (BOU Tra-Kuh.009, BOU Tra-Kuh.015, BOU Tra-Kuh.016, BOU Tra-Kuh.022 - BOU Tra-Kuh.025 & BOU Tra-Kuh.027). Also of note are other photographs by Trager & Kuhn including a studio portrait of Kiowa chief Ahpeatone (erroneously identified as Young Man Afraid of His Horses) who had been sent to visit his Lakota relatives on Pine Ridge Indian Reservation in order to learn about their version of the Ghost Dance (CAB Tra-Kuh.001) as well as a "bird's-eye view" of a Ghost Dance at Pine Ridge on November 25th 1890 which may have been originally taken by James E. Meddaugh (BOU Tra-Kuh.031).

Approximately 51 photographs directly pertain to the Wounded Knee Massacre. Materials of note include a view by Clarence G. Morledge of the "Bloody Pocket" valley where the Drexel Mission Fight took place one day after the massacre (BOU Morl.001); a series of studio portraits by George E. Spencer depicting several individuals involved with the Ghost Dance movement who were being held as prisoners of war at Fort Sheridan after Wounded Knee (CAB Spe.004 - CAB Spe.012); and a group portrait by an unidentified photographer in 1902 of Chief Calico with son Frank Calico and wife Good Dog, the latter of whom was purportedly a "great Medicine woman at Wounded Knee in 1890" (LARGE Uni.005).

Photographs from albums compiled by Michigan-based photographer Fannie Hoyt include views of the Wounded Knee battlefield (Albums 4B & Albums 4D) and portraits of individuals known to have survived the massacre such as Joseph Horn Cloud (Albums 4C), Daniel White Lance (Albums 4F) and possibly Dewey Beard (Albums 4C). Graphic photographs by Trager & Kuhn show bodies of victims at the site of Wounded Knee, as well as scenes at Pine Ridge Indian Reservation immediately following the massacre (BOU Tra-Kuh.001, BOU Tra-Kuh.002, BOU Tra-Kuh.004, BOU Tra-Kuh.008 - BOU Tra-Kuh.014, BOU Tra-Kuh.016, BOU Tra-Kuh.020, BOU Tra-Kuh.022 - BOU Tra-Kuh.026, BOU Tra-Kuh.028 - BOU Tra-Kuh.030 & LARGE Tra-Kuh.001 - LARGE Tra-Kuh.004). Photographs by John C. H. Grabill include images of a Grass Dance being performed by Miniconjou dancers four months prior to the massacre (LARGE Gra.001 & LARGE Gra.002); scenes from "hostile" Lakota camps on Pine Ridge Indian Reservation (LARGE Gra.003 & LARGE Gra.004); Gen. Nelson Appleton Miles and staff at Pine Ridge (LARGE Gra.008); negotiations taking place between U.S. Army officers and Lakota leaders at Pine Ridge following the massacre (LARGE Gra.007); individual and group portraits of Lakota individuals including Crow Dog (LARGE Gra.009), Plenty Horses (STE Gra.001 & FRAMED 6), Jack Red Cloud (LARGE Gra.011), a wife and family of American Horse (LARGE Gra.005), and survivors of Big Foot's band (LARGE Gra.006); as well as a group portrait of Brulé and Oglala Lakota men, women, and children, including an infant purported to be one of the two babies known to have been miraculously recovered from the Wounded Knee site three days after the massacre (LARGE Gra.010).

Other photographs of note include a group portrait by Frank Currier showing a Lakota delegation to Washington, D.C., in May of 1875, including chiefs Red Cloud, the Oglala Sitting Bull, Swift Bear, and Spotted Tail as well as Prussian-Jewish interpreter Julius Meyer (STE Cur.001); a view of a Brulé "war dance" at Rosebud Agency (BOU Uni.002); a group portrait of Louis Dewitt and family at Fort Bennett, Dakota Territory (MEDIUM Uni.009); and three views by E. A. Fry of lodges at an Oglala encampment on Pine Ridge Indian Reservation in 1883 including a Medicine Scalp Lodge and Sun Dance Lodge (LARGE Fry.001 - LARGE Fry.003).

Also present are views of Lakota scaffold burials (STE MorS.027, STE MorS.029 & BOU Cro.001); a photo showing a group of Lakota dancers in traditional dress posing outside the home of Emma Sickels with American flags and a Benjamin Harrison flag related to the 1888 presidential election (BOU Tra-Kuh.032); three studio group portraits by Robinson & Roe of the Sioux Treaty Commission of 1889 (CAB Rob-Roe.001 - CAB Rob-Roe.003); portraits including Lakota family members related to American frontiersman John Young Nelson (CAB AndD.001, CAB Ell-Fry.001, CAB Fra.001, & LARGE Gra.010); and a Trager & Kuhn view of Red Cloud's wife Pretty Owl inside the couple's cabin at Pine Ridge (Tra-Kuh.005).

Ute

Approximately 16 photographs in the collection pertain to the Ute tribe. Specific Ute sub-tribes represented in the collection include the Capote, Moache, and Tabeguache. Images of particular note include studio portraits by William H. Jackson of Ute chiefs Ouray (CAB Jac.001) and Colorow (CAB Jac.002), Ouray's sister Shawsheen erroneously captioned as being Ouray's wife Chipeta (CAB Jac.003) and Tushaquinot (CAB Jac.004 & BOU Jac.001); a studio portrait by Charles M. Bell of a member of Ouray's band called "Tom Ute" (OVERSIZE Bel.007); and portraits by C. R. Savage of a Ute family (CDV Sav.001) and a warrior identified as "Indian Charley" (STE Sav.001).

Also present are two portraits made by Timothy O'Sullivan during the Wheeler Expedition of Capote Utes including a woman named "Pah-ge" (STE Wheeler.039) and a group of unidentified Ute warriors (STE Wheeler.040); two studio portraits by Ben E. Hawkins showing a group of Ute chiefs (STE Haw.001) and a chief named "Washington" (BOU Haw.001); a studio portrait by J. N. Choate of an unidentified Native American man (possibly a Ute) erroneously identified as Colorow (MEDIUM Cho.001); and a studio portrait of White River Ute leader Chief Johnson by W. G. Chamberlain in which the subject holds a studio prop staff affixed with a scalp lock (CAB Cha.001).

Photo Albums & Portfolios

12 photograph albums and one three-volume portfolio set are present in the collection.

• Volume 1, "Chiefs of the Sioux Wars and the Battle of the Little Bighorn" contains 14 portraits of Lakota leaders including Red Cloud, Rain in the Face, Crow King, Gall, John Grass, Low Dog, Long Dog, and Sitting Bull, as well as a photo of a "Burial Tree" indicative of how Lakota and Cheyenne casualties were supposedly laid to rest following the Battle of the Little Bighorn.
• Volume 2, "Custer, Prominent Military Structures, and the Men who Fought the Sioux Wars" contains 15 photos of United States Army officers and military forts that were important during the Plains Indian wars, including several portraits of members of Custer's 7th Cavalry.
• Volume 3, "Plains Warriors, Chiefs, Scouts, and Frontier Personalities" contains 15 photos including portraits of prominent Native American chiefs including Chief Joseph, Gall, Sitting Bull, and War Eagle; as well images of Grass Dancers; an unidentified Arikara scout; William F. Cody; and Annie Oakley. Two photos of Standing Rock Reservation in the 1890s are also present, including one image showing a group of Indian reservation police

The John Alvin Anderson album consists of 49 images of scenes from the Rosebud Indian Reservation, South Dakota, in the late 1880s and early 1890s. Photographs depict daily Lakota life on the reservation including landscapes, boarding schools, camp life and homesteads, reservation police, and Fourth of July-related dance ceremonies. Images pertaining to cattle ranching and Native American cowboys are also a prominent theme in the album. Several portraits of Brulé Lakota men are also included, including Hollow Horn Bear, Crow Dog, and Two Strike. Of particular note is a group portrait of several Brulé Lakota men preparing for a "Journey to Eastern Cities".

The Osage Indians photograph album contains 49 images mostly taken by George W. Parsons near Pawhuska, Oklahoma, ca. 1880 to 1900 that for the most part pertain to the Osage tribe. Images of particular interest include photographs of Osage Reservation buildings, boarding schools, portraits of Osage men, women, and children, cattle ranching scenes, and images captioned "Sun Dance" that likely depict Fourth of July celebrations. Also present are 12 photographs likely taken by the unidentified compiler of the album which show street scenes and buildings from Pawhuska, white American sightseers at "Lover's Leap" rock formation, and an Osage lodge flying an inverted American flag.

The Fort Berthold album compiled by an unknown photographer contains 54 images primarily related to the Mandan tribe at Fort Berthold, North Dakota, ca. 1890 to 1910. Images of particular interest from the front two-thirds of the album include landscape views, Fort Berthold Agency buildings and homesteads, reservation police, meat drying, and photographs of Mandan men, women, and children. The final third of the album contains photographs of dead animals, hunting trophies, a taxidermy business, bison farm, and the Northern Pacific railroad bridge in Bismarck, North Dakota. Some of the Native Americans depicted may belong to the Arikara and Hidatsa tribes who also reside at Fort Berthold.

The Fanny Hoyt albums (9 volumes) consist of approximately 287 images taken during visits to the Pine Ridge Indian Reservation in South Dakota from 1900 to 1903. Fanny Hoyt (1868-1949) was a photographer from Wayland, Michigan. Images of interest include numerous portraits of Lakota men, women, and children (many of whom are identified with captions), buildings from around Pine Ridge agency, landscape views including the Badlands, and photographs related to cattle ranching and meat distribution. Of particular note are photographs of the site of the Wounded Knee Massacre, a Catholic Indian Meeting House, giveaway ceremonies, preparation of boiled dog meat, wooden coffins captioned "Indian Graves", the interior of a Lakota church, scenes from Fourth of July celebrations, and group portraits of Lakota pupils at "No. 29 Day School".

Other Items of Note

52 stereographs taken by Timothy O'Sullivan and William H. Bell relate to the survey expeditions led by Lieut. George Wheeler (STE Wheeler.001 - STE Wheeler.052) in the years 1873 and 1874. These images depict not only the natural landscapes explored during the survey, such as Canyon de Chelle and Shoshone Falls, but also the Apache, Navajo, Ute, and Zuni peoples through whose lands the survey passed. Includes original stereograph box.

Approximately 30 photographs primarily taken by J. N. Choate are directly related to the Carlisle Indian Industrial School in Carlisle, Pennsylvania. Founded in 1879 by Captain Richard Henry Pratt of the U.S. Army, Carlisle was the flagship Indian boarding school until its closure in 1918. Over ten thousand Native Americans attended the school, where they were subjected to a strict regimen devised under Pratt's motto of "Kill the Indian, save the man." Arriving students had their hair shorn and their clothes replaced with European-style dress, while students were also forced to take new English names and forbidden to speak their native languages.

• Sharp Nose (MEDIUM Cho.003 & MEDIUM Cho.005)
• Iron (MEDIUM Cho.005)
• White Horse (MEDIUM Cho.005)
• Black Coal (MEDIUM Cho.005)
• Little Wolf (MEDIUM Cho.005)
• Iron Wing (MEDIUM Cho.002 & CAB Cho.003 - CAB Cho.005)
• Poor Wolf (CAB Cho.004, CAB Cho.007 & MEDIUM Cho.009)
• Yellow Bear (MEDIUM Cho.006 & CAB Cho.004)
• Sitting Bear (MEDIUM Cho.008, CAB Cho.004 & CAB Cho.007)
• Man-in-the-Cloud (MEDIUM Cho.007)
• Mad Wolf (MEDIUM Cho.007)
• Spotted Tail (MEDIUM Cho.011 & CAB Cho.003 - CAB Cho.006)
• Black Crow (CAB Cho.003)
• Two Strike (CAB Cho.003)
• White Thunder (CAB Cho.003)
• Brother-to-All (CAB Cho.007)
• Like-the-Bear (CAB Cho.007)
• White Buffalo (BOU Cho.001)
• Luther Standing Bear (BOU Cho.007 & MEDIUM Cho.010)

More items of interest related to the Carlisle School include outdoor group portraits of Dakota boys and girls (BOU Cho.004 & BOU Cho.005); a view of the Boy's Quarters (BOU Cho.009); studio group portraits of Navajo students (BOU Cho.008); Laguna Pueblo students (CAB Cho.001); and Arapaho students (BOU Cho.009).

Of further note is an outdoor group portrait taken by William H. Tipton of nearly thirty Cheyenne and Arapaho parents and Carlisle students visiting the Gettysburg battlefield in 1884 (OVERSIZE Tip.001).

Other noted Indian chiefs, leaders and warriors represented in the collection include Wovoka, the Paiute prophet whose preaching formed the basis for the Ghost Dance movement (CAB Butl.001 & CAB Butl.002); Washakie, chief of the Eastern Shoshones (BOU Bak-Joh.001, BOU Bak-Joh.002, CAB Bak-Joh.001 - CAB Bak-John.003, BOU Hay.001 & MEDIUM Hay.001); Osage chief Bacon Rind (MEDIUM Dix.002); Ponca warrior Big Snake (STE MorS.013); Ponca chief Standing Bear (FRAMED 9); Pawnee chief Young Bull (MEDIUM Dix.001); Pawnee warrior Big Spotted Horse (FRAMED 8); Pawnee chief Petalesharo II (STE Carb.002, STE Carb.003 & STE Carb.007); the last "full-blood" Kansa council including Forrest W. Chouteau, Silas Conn, Little Jim, Jesse Mehojah, Roy Monroe and James Pepper (LARGE Uni.002); Hidatsa chief Hard Horn and son Long Arm (STE Gof.005); Bill Jones of the Gros Ventre (BOU Morr.005, BOU Morr.006 & MEDIUM Mat.001); Mandan chief Wa-Shú-Na-Koo-Rá, the son of Chief Four Bears (STE MorS.006); Enoch Hoag, last traditional chief of the Caddo (BOU Len-Saw.010); Northern Arapaho leader Sherman Sage (BOU Hay.001); and Billy Fewell, a Seminole leader and tribal historian of partial African descent (BOU She.001 & MEDIUM Uni.005).

Many images depict encampments, dwellings, dance lodges, and other architectural constructions made by Native Americans as well as American settlers. Particularly noteworthy items include several views of sod buildings (MEDIUM But.001, MEDIUM Uni.013, BOU Tem.001, CAB Tem.001, Albums 4B & Albums 4C); a view by Winter & Brown of two totem poles outside the home of Stikine Tlingit chief Gush Tlein in Wrangel, Alaska (BOU Win-Bro.001); Hidatsa and Mandan structures in Like-a-Fishhook Village at Fort Berthold Agency taken by Stanley J. Morrow (STE MorS.011, STE MorS.012 & STE MorS.030); stereographs by John Carbutt showing Pawnee mud lodges and drying racks laden with sliced pumpkin rinds (STE Carb.004 & STE Carb.005); views showing Ho Chunk chipotekes (STE Ben.002, STE Ben.003 & BOU Ten.001); and buildings and agricultural works at Zuni Pueblo (STE Wheeler.016 & STE Wheeler.018).

Numerous photographs pertain to dance ceremonies, including images related to the Sun Dance, Ghost Dance, Grass Dance, Fox Dance, "Squaw Dance," and more. Photographs related to Fourth of July ceremonies are also prevalent. After the Religious Crimes Code was first enacted in 1884, traditional Native American customs and dances began to be forbidden on reservations. In response, many tribes started using the Fourth of July (which generally overlapped with the historic timing of Sun Dance festivities) as a means of expressing traditional aspects of their cultures while simultaneously displaying patriotism for the United States of America, something which was actively encouraged by Indian Agents.

Items of particular interest with regards to Native American Fourth of July celebrations include an image of what possibly may be Lakota/Dakota dancers in the middle of a performance (LARGE Uni.004); two Trager & Kuhn photographs of Lakota chiefs involved in Fourth of July celebrations at Pine Ridge Indian Reservation (BOU Tra-Kuh.007 & BOU Tra-Kuh.015); a view of a large Plains Indian encampment gathered for Fourth of July in 1892 (BOU Uni.001); three photographs by White's Studio related to Fourth of July celebrations by the Cheyenne and Arapaho at El Reno, Oklahoma Territory, on July 4th 1898 (LARGE Whi.001 - LARGE Whi.003); a Norman A. Forsyth photograph of a Kootenai "Sun Dance" lodge being assembled in 1904 (STE For.001); a Frank Bennett Fiske photograph showing tipis painted for a Fourth of July gathering at Standing Rock Reservation (OVERSIZE Fis.001); five photographs by Sumner W. Matteson taken during a Fourth of July celebration among the Gros Ventre on Fort Belknap Indian Reservation, Montana (MEDIUM Mat.001 - MEDIUM Mat.005); a panoramic photograph by H. C. Chaufty depicting a "Sun Dance" gathering in 1909 (FRAMED 4); and two photographs related to a Fourth of July parade involving a group of Menominee Indian men, women, boys, and girls (MEDIUM Joh.002 & MEDIUM Joh.003). Three of the Fanny Hoyt albums (Albums 4C, Albums 4D & Albums 4H), the John Alvin Anderson Album (Albums 1) and the Osage Indians Photograph Album (Albums 2) also contain images related to Fourth of July celebrations.

The Pohrt Collection is particularly rich with photographic examples of Native American material culture in part due to the collection creator Richard Pohrt, Jr.'s own personal interest in that subject. Numerous images show various elements of clothing & dress such as shell and bead necklaces, bear claw necklaces, otter fur and cloth turbans, feather and porcupine fur headdresses, breechcloths, buckskins, dresses trimmed with real and/or imitation elk teeth, gorgets, cinder goggles, cloth and fur hair wraps, hats, otter fur and hairpipe breastplates, bow and rifle cases, face and body paint, presidential peace medals, blankets, robes, bandolier bags, moccasins, and articles of clothing embroidered with beadwork, porcupine quillwork, and silk ribbon applique. A number of images also contain examples of traditional weaponry including tomahawks, war clubs, bows and arrows, spears, shields, knives, and coup sticks. Richard Pohrt, Jr. has provided extensive notes regarding elements of material culture that have been incorporated into individual catalog records.

Several photographs present in the collection especially highlight the issues of cultural appropriation and racism with regards to Native Americans. Photographs in which white American subjects appear dressed in "traditional" Native American clothing include an outdoor group portrait by W.E. Vilmer showing a group of white children dressed in Indian costumes (OVERSIZE Vil.001); a studio group portrait by Hans H. Stolze of two white men wearing Indian costumes and holding pistols (CAB Stol.001); and a group portrait showing a room of white men and women dressed in Indian costumes related to an unidentified branch of the Improved Order of Red Men (MEDIUM Uni.011). Also present are two photographs that were used as exhibit pieces by the Western Americana collector Charles Frederick Fish during the Second International Congress of Eugenics Exhibit of Scientific Studies at the American Museum of Natural History in New York City in 1921; the first photograph is a studio group portrait by E.E. Henry of four Nez Percé chiefs including Chief Joseph, Charles Moses, and Yellow Bull while they were being held as prisoners of war at Fort Leavenworth, Kansas (BOU Hen.001); the second photograph is a studio portrait of the Apache chief Bonito by Ben Wittick (BOU Wit.003).

Numerous photographs in the collection contain culturally sensitive content, including images related to sacred ceremonies that were often photographed under duress and/or without explicit permission (such as photographs related to Ghost and Sun Dance ceremonies); images of Native American graves; and images of actual deceased Native American persons, such as the Trager & Kuhn photographs showing the aftermath of the Wounded Knee Massacre. Other culturally sensitive photographs not mentioned elsewhere in this Finding Aid include a staged view by George W. Bretz showing two U.S. Army soldiers and two unidentified Native American men horsing around in a sweat lodge at Fort Sill, Indian Territory, in what appears to be a mock imprisonment scene (CAB Bre.006); a view by Edward De Groff of a Tlingit grave and cremation ground in Juneau, Alaska (BOU Deg.003); an outdoor group portrait by W. H. Partridge of an Aak'w Kwáan Tlingit family that appears to be dressed for a mourning ceremony (BOU Par.004); and a postmortem portrait of a Sarsi woman sitting at the bedside of her deceased daughter (LARGE Uni.001).

Photographs that have been deemed to contain culturally sensitive content will not be made digitally accessible and will only be available for use in the reading room.

See Additional Descriptive Data Section for more comprehensive listing of subject terms, tribal names, personal names, and contributors.

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.

The Wilbur Wright Airfield photograph album contains 250 images taken by Corporal J. O. McDonnell that mainly document military activities at Wilbur Wright Airfield in Ohio during World War I.

The album (18 x 28.5 cm) is string-bound and has black leather covers with "Photographs" stamped in gold on the front and black paper pages. Images are sequentially numbered in white pencil. Contents primarily cover a range of aviation training activities and other operational aspects of Wilbur Wright Airfield. Various training aircraft are documented in detail; the majority were Curtiss JN-4s, known as “Jennys,” but the base also had some DeHaviland DH-4s. Numerous views of planes are included, showing them on the ground, in the air, and operating in all seasonal conditions. Several crash landings are also documented, with most of the wrecks appearing to be “nose-overs” (planes flipping forward upon landing) rather than high-speed crashes into the ground.

In addition to pilot training, Cpl. McDonnell also documented aspects of daily life at the base including hangars, mechanics shops, fabrication areas, and barracks. Photographs include shots of military personnel working on planes, lounging in barracks, and searching for wreckage. Also present are photographs of visitors to the base (including actress Pearl White and possibly other cast members of Pearl of the Army), the New York Times airplane, experimental plane designs (such as a dual engine biplane and innovative wing shapes), and two images showcasing the newly developed Brock Automatic Aeroplane Camera designed for aerial surveillance. Cpl. McDonnell himself may possibly appear in photograph no. 69 posing with a young woman in front of an airplane.

Other locations besides Wilbur Wright Airfield are represented in the album, including storefront views and street scenes in Mineola, New York, which may possibly have been McDonnell’s hometown. Also present are four portraits of Theodore Roosevelt giving a speech in 1917 at a racetrack in Mineola, seven images of Washington, D.C., landmarks (including four directional views taken from the top of the Washington Monument), a view of the Tijuana Fair, the Horton Plaza fountain at the Panama-California Exposition in San Diego, and six aerial photographs showing an unidentified coastal city (likely San Diego) and several ships.

Other photographs produced by Cpl. McDonnell for official U.S. Army purposes differ from those found in this album in terms of their size, content, quality of composition, and attention to staging. It is likely that he took photographs for official (and sometimes classified) purposes in his role as base photographer while also taking his own personal snapshots, the latter of which are what appears to be compiled in this album.

The Wisconsin and Minnesota friendship photograph album contains approximately 245 photographs documenting a friend group of young women.

The Wisconsin and Minnesota friendship photograph album contains approximately 245 photographs documenting a friend group of young women.

The album (18 x 29.5 cm) has black cloth covers and black paper pages. Contents generally progress chronologically starting from the 1910s while the friend group appears to be in college before documenting their lives once they get married and start having families. Numerous images have witty captions, likely referencing inside jokes. Photographs primarily consist of individual and group portraits showing the women partaking in various activities including striking comical poses together, attending costume and fraternity parties, holding picnics, and going on various other adventures. Also present are views of the University of Wisconsin-Stout in Menominee, Wisconsin, Hamline University in Saint Paul, Minnesota, and Loring Park in Minneapolis, Minnesota. Halfway through the album begins to document members of the friend group getting married and starting families of their own, with photographs mainly depicting young children, homes, and group vacations including a trip to Salt Lake City, Utah. The last few pages also include images of a World War I-era soldier and nurses with facemasks (possibly indicating involvement with treating Spanish influenza victims).

Photographs showing instances of blackface and other racially insensitive costumes are present.

The Yacht Vergana photograph album contains approximately 190 photographs related to the lifestyle and friends of a New York-based yacht owner.

The Yacht Vergana photograph album contains approximately 190 photographs related to the lifestyle and friends of a New York-based yacht owner. The album (18 x 26 cm) is fully bound in brown leather. Images of interest include views taken in and around Long Island Sound, including the torpedo boat Ericsson at the Greenport dock; shell races at Poughkeepsie, with spectators aboard the steamboat Chester W. Chapin; Luna Park on Coney Island; various sailing and steam vessels on Long Island Sound; Prospect Park in Brooklyn; the racing yacht Flint's Arrow; a group of nurses from the Flower Free Hospital on a shipboard outing; buildings in Greenport; Sir Thomas Lipton's yacht, Erin; cadets at West Point; the steamboat Orient and her crew; the yacht Vergana; Long Island Railroad snow plows; and an automobile race at the Riverhead Fair (according to laid-in caption). Other photographs include beach scenes, fishing boats, family and friends onboard the Vergana and other vessels, and unidentified street views possibly taken on Long Island. A number of photographs include manuscript captions.