Collections : [University of Michigan William L. Clements Library]

These photograph albums contain pictures of scenery, people, and buildings in the Adirondack Region of northern New York and in Washington, D.C.

These photograph albums (19cm x 30cm) contain 49 pictures of scenery, people, and buildings in the Adirondack Region of northern New York. Labeled photographs show buildings, animals, and scenery in and around Ilion, New York; Clifton, New York; Oxbow, New York; Chippewa Bay, New York; the Grass River; the Oswegatchie River; and Washington, D.C. Houses and other buildings shown include a home on "Preston Isle" in Chippewa Bay, the "Old Morris House" (a colonial stone house), an abandoned iron furnace, the White House, and the United States Capitol. Photographs of construction equipment are also present. Of the individuals and groups pictured, only Jack Moffett, a young boy, is identified. Photographs of note include pictures of an encampment, the exterior of a log cabin decorated with pine boughs, game and fish, and replicas of the ships Niña, Pinta, and Santa Maria. Two photographs indicate the photographer's interest in capturing motion: one shows the Empire State Express at full speed and another shows a woman throwing water, captured at a shutter speed of 1/50 second. The albums have black or blue binding with "Photographs" embossed in gold on the covers.

This photograph album contains photographs of scenery in Alaska, Yellowstone National Park, and the Yosemite Valley in the late 19th century. Several photographs feature tourists or members of the photographer's traveling party, and others were taken onboard the steamer Queen.

This photograph album (25cm x 19cm) contains 87 photographic prints depicting scenes in Alaska, Yellowstone National Park, and the Yosemite Valley in the late 19th century. The photographs, all of which have captions, were taken during visits to four geographic areas: Muir Glacier (21 photographs); Tacoma, Washington, and Helena, Montana (8 items); Yosemite National Park (48 items); and the Yosemite Valley and Arizona (10 items). Most photographs show natural scenery such as mountains, rock formations, waterfalls, and geysers, and some are pictures of hotels. Many show tourists climbing or viewing natural formations and scenery, and some show members of the photographer's party posing for portraits.

The album has two identical prints of a group of amateur photographers holding box cameras onboard the Queen, which is shown in several other photographs. Views of buildings in Sitka, Alaska; Tacoma, Washington; Helena, Montana; and Yosemite National Park are also included. One photograph shows a woman modeling a Chilkat blanket and totem pole cane, and another shows a "Tamed Bear" standing on a raised platform. Also of note is a picture of a train, taken as the photographer's party disbanded near Chicago. The volume is a quarter-bound album with a title stamped on the cover in gold: "Photographs."

This album contains pressed algae specimens and a photograph of Fort Jefferson, Florida. Possibly compiled and owned by someone named Stuart.

This album (24cm x 24cm) contains 305 algae specimens collected around the mid-1860s, comprised of 294 items pressed onto 10cm x 6cm cards and 11 items pressed onto larger cards. Only one specimen is identified. The smaller cards are mounted six to a page and the larger cards are laid into the volume between pages of specimens. Numerous types of algae are represented, in a multitude of colors. The bottom cards on the first two facing pages spell the name "Stuart," which is also stamped in gilt on the front cover. The album is bound in brown leather and cloth with the title "Algae from Fort Jefferson, 'Tortugas,' Florida" is stamped on the back cover and "Album" stamped on the spine. A photograph of Florida's Fort Jefferson is pasted onto the first page as a frontispiece.

The American Tour photograph album contains 96 Photographs of a tour taken of the United States and Canada, featuring the World's Columbian Exposition of 1893 in Chicago.

The American Tour photograph album (24 x 18 cm) contains 96 Photographs of a tour taken of the United States and Canada, featuring the World's Columbian Exposition of 1893 in Chicago. The photographic narrative follows a trip from Southampton, England, across the Atlantic to New York City; Richmond, Virginia; Chicago, Ill.; the Niagara region; Saratoga, New York; the Hudson River valley; and finally New York City and Coney Island, New York. Images from the trans-Atlantic trip include the dock at Southampton, the Steamship SS Paris at sea; the Sandy Hook pilot boat; views of the Statue of Liberty; and steerage passengers on an ocean liner. Several images of Richmond, Va., and rural homes in Amelia County, Va. appear. One view showing a three adults and one child on a wagon "leaving Sherwood" may be of the travelers. Numerous views of the Columbian Exposition grounds in Chicago are at the center of the album. Photographs of Niagara Falls and the Niagara River include an image of Clifford Calverley crossing the river on a tightrope. Other images include barges on both the Saint Lawrence Seaway and Hudson River; boating and scenery at Lake George; and ice houses and sailboats along the Hudson River. Photographs of New York City depict Wall Street; Brighton Beach and Coney Island; the Statue of Liberty; and Jersey City Ferry Boat "Orange." The album's half-bound brown cloth cover is stamped in gilt "American Tour. 1893."

The Amherst, Massachusetts photograph album contains 13 photoprints taken in and around North Amherst, Mass., including images of churches, the post office, and parks. Also includes an image of the Amherst College campus and a photograph of a railroad bridge.

The Amherst, Massachusetts photograph album (18 x 26 cm) contains 13 photoprints taken in and around North Amherst, Mass., including images of churches, the post office, and parks. Also includes an image of the Amherst College campus and a photograph of a railroad bridge.

The album cover has black textured paper over boards, with gold printed title "Photographs," bound with string. Housed in a pale blue cardboard box.

The Atlantic City photograph album contains approximately 90 photographs related to an unidentified couple and their daughter, Jane, during a trip to Atlantic City in April and May of 1914.

The Atlantic City photograph album contains approximately 90 photographs related to an unidentified couple and their daughter, Jane, during a trip to Atlantic City in April and May of 1914. The album (18.5 x 27 cm) is bound in hand-painted varnished leather on paper boards with wood overlay. Images of particular interest include views of horseback riding on the beach, strolling on the boardwalk, and riding in rolling chairs and a pony-drawn cart. Atlantic City is seen largely as a backdrop to family activities. Additional photographs show the young girl sledding and with toys and friends at home. Also includes a photograph of Eleanor R. and Frederick D. Countiss and their daughter, Henrietta, in a studio portrait.

The At Peace Street photograph album contains 14 photographs of upper middle class home and family in Providence, R.I. Possibly the home of Linwood O. Towne, who inscribed the volume to the Prescotts in 1900. Several images of family members reading and photographs featuring the family cat.

The At Peace Street photograph album (16 x 23 cm) contains 14 photographs of upper middle class home and family in Providence, R.I. Possibly the home of Linwood O. Towne, who inscribed the volume to the Prescotts in 1900. Several images of family members reading and photographs featuring the family cat.

The album has brown burlap covers with inscribed title "At Peace Street," bound with string, and is housed in a gray wrapper with dark brown cloth spine.

A Week Among the Mosquitoes photograph album (16 x 10.5 cm) contains snapshots from a July 1896 camping trip on the White River near Mt. Carmel, Indiana.

A Week Among the Mosquitoes photograph album (16 x 10.5 cm) contains 26 snapshots on 52 pages, with humorous inscriptions on many images. Six are landscapes, four are snapshots of the campsite, and sixteen are of the men camping, hunting, and fishing. The cover bears the names of the five men, plus two late joiners with more trip information on the inside cover. The back cover bears the maker’s mark of Verne E. Joy.

Thomas J. Bandfield, a native of England, compiled carte-de-visite photographs of friends and family members in this album before moving to the United States in 1870.

The inscription on page one indicates that Jane Rugg Bandfield of Chard, England, gave this photograph album to her son, Thomas John Bandfield, in London, England, in April 1870, before his departure for the United States. The volume (16cm x 14cm) contains 42 carte-de-visite portraits of Bandfield family members and acquaintances, both men and women. A later photographic print with a picture of an unidentified man, possibly Thomas J. Bandfield, is laid into the volume, as is an envelope addressed to Edna Bandfield of Portland, Michigan, Thomas Bandfield's daughter. The envelope has captions for most of the album's cartes-de-visite. A few individuals posed with children. One carte-de-visite has a photograph of a painted silhouette, and another shows "Four old Englishmen," otherwise unidentified. The subjects were photographed in studios in England. Some subjects may appear more than once.

The Beauties of The Sea photograph album contains five small commercial photographs of scenes on Nantucket along with four alternating sheets of decoratively arranged pressed algae.

The Beauties of The Sea photograph album (12 x 14 cm ) contains five small commercial photographs of scenes on Nantucket (The Old Windmill; Brant Point Light; Harbor and Sailboats; the Town Crier; and Bank and Methodist Church) glued into small album along with four alternating sheets of decoratively arranged pressed algae. The photographs are possibly by Henry S. Wyer. The album's faded green paper covers are tied with gold tasseled string with a wash drawing and inscribed title "Beauties of The Sea" in ink. Album is housed in light green folder.

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 Brown-Danskin Company photograph album contains photographs of farm properties in the Red River Valley (North Dakota and Minnesota), offered for sale by the Brown-Danskin Company.

The Brown-Danskin Company photograph album (15 x 20 cm) contains 50 photoprints of farm properties in the Red River Valley (North Dakota and Minnesota), offered for sale by the Brown-Danskin Company. Photographs show large fields of clover, rye and wheat, often with a lone figure standing at a distance. Also shown are farmhouses, barns, and outbuildings on properties, with occasional livestock. Cars, telephone lines, and windmills appear in multiple photographs, and several images relate to harvests. Typescript captions describe the buildings, available amenities, soils, and prices. Images appear to be professionally composed and developed.

The album has a black cloth cover with printed title: Eastern North Dakota and Red River Valley Farms, the Brown-Danskin Company, Minneapolis, Minn. and is housed in a pale blue cardboard box.

This photograph album contains 10 albumen prints related to the Bunker Hill Monument in Charlestown, Massachusetts.

This souvenir photograph album (12cm x 18cm), which contains 10 albumen prints, is bound in blue pebbled book-cloth and has the title "Album Photographs[,] Bunker Hill Monument" stamped in gold on its cover. The first 2 pictures show the Bunker Hill Monument (a stone obelisk) and the statue of Colonel William Prescott, respectively. The remaining 8 photographs are aerial views of Charlestown and the surrounding area taken from the monument, showing residences, industrial buildings, the Charlestown Navy Yard, and the Charles and Mystic Rivers. Sailing ships are visible in many of the aerial views. The album belonged to Lucia K. Hathaway, who inscribed her name on its first page on November 15, 1884.

The California and Western Tour photograph album contains commercial and amateur photographs of scenes in Yosemite National Park, Yellowstone National Park, California, New Mexico, and other locales. The volume includes a group of photographs taken at the World's Columbian Exposition in Chicago, Illinois, in 1893.

This album (23cm x 30cm) contains 67 commercial and amateur prints of scenes in various locales, particularly in the western United States. The album is bound in red pebbled leather with small gold trim. Many of the photographs are commercial prints as large as 19cm x 24cm, with captions and negative numbers. Manuscript captions accompany some of the items, often with information about the size of natural features shown. Pictures of rock formations, waterfalls, rivers and lakes, and geysers are most common, along with shots of architectural landmarks and groups of tourists. Prominent photograph locations include Yosemite National Park (9 items), Garden of the Gods (4 items), New Mexico (3 items), the Columbia River (3 items), and Yellowstone National Park (20 items). The album has 2 pictures of Niagara Falls, one of which was taken in winter.

Though the album focuses on natural scenery, several photographs show various types of buildings, such as missions in California and New Mexico, hotels in California, the Lick observatory, a group of buildings at the Shasta Springs retreat, a railroad dining car interior, and the exterior of a Chinese restaurant in San Francisco, California. Scenes of horse-drawn carriages fording the Fire Hole River in Yellowstone National Park and passing through a tunnel cut into the trunk of a large tree in Yosemite National Park are present, as are other group photographs. One shows "Miss E. P. Gould" riding a horse, and another shows a group of men fishing on Yellowstone Lake. An 1888 portrait of John C. Frémont, his wife Jessie, and their daughter shows them standing in front of the "Fremont tree" in Redwood Grove. A final group of photographs consists of pictures of various buildings constructed for the 1893 World's Columbian Exposition in Chicago, Illinois.

The California travel photograph album (17.5 x 14 cm) contains twelve gelatin silver print views of various travel destinations in California in 1898.

The California travel photograph album (17.5 x 14 cm) contains twelve gelatin silver print photographs of various travel destinations in California in 1898. Captions are written below each photograph.

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 Caribbean photograph album contains photographs of towns, scenery, and people in Jamaica, Saint Vincent, Barbados, and Trinidad.

This photograph album (19cm x 26cm) contains 77 photographs of towns, scenery, and people throughout the Caribbean. Most pictures are 14cm x 22cm, though a few are 10cm x 15cm, and many have lengthy captions with additional information about locales pictured; many are numbered. Captions include information about hotel rates, population figures, vegetation, geographic features, and local customs. The photographs show Jamaica (43 items), Barbados (13 items), Trinidad (12 items), local residents (4 items), Saint Vincent (3 items), and other scenes (2 items). The album has many views of city streets and towns taken from street level and from higher vantage points, as well as views of rivers in Saint Vincent and Jamaica and of Carlisle Bay, Barbados. Structures such as sugar plantation windmills, railroad stations, hotels, markets, a prison, and churches are visible in many pictures, as are residents and, less often, tourists. A group of 4 photographs at the end of the album show East Indian women who worked in Trinidad, and 3 photographs show members of the West Indian Regiment and its band, including 1 picture of the band playing in a gazebo. Harbor views show Royal Navy ships and other vessels. The album's covers have a hard cloth covering, and the pages are bound together with rope. One loose page has been removed from the volume.

The C. Earle Beckwith photograph album contains images of rural living and farming activities, possibly in Michigan.

The C. Earle Beckwith photograph album (17 x 22 cm) contains 18 photographic prints of rural living, possibly in Michigan. Includes two views of a mill; a photograph of two women in a boat; a photograph of a crowded event at a rural residence; a group shot of a brass band; two men and a boy holding farm implements; two images of a railroad track and water tower; and candid photographs of family at home. Also included are several photographs relating to farming activities; one is of a roadside display of vegetables after the harvest.

The album's brown cloth cover has an embossed title "Photographs." The album is inscribed "C. Earle Beckwith, Merry Christmas" and is housed in a light blue box.

The C. E. DuBois photograph album contains photographic prints taken in and around Hoboken, New Jersey, circa 1870s. Many of the pictures are group portraits and views of building exteriors, including firefighters posed with a hose carriage, and the Hoboken Yacht Club.

Collection Scope and Content Note:

The C. E. DuBois photograph album (27cm x 34cm) contains 42 photographic prints taken in and around Hoboken, New Jersey, circa 1870s. The prints range in size from about 5.5cm x 6.5cm to 21cm x 13cm. Many are framed with hand-drawn, colored borders, sometimes with decorative or floral designs; one border has small drawings of an anchor and United States flag and one has small drawings of firefighters' equipment. Four items' borders include captions: "A Votre Santé" (a group of men sitting around a table with drinks), "H.Y.C." (Hoboken Yacht Club), "Oceana Hose" (horse-drawn firefighters' hose carriage), and "Martha Institute." The album's green cloth cover has a plate with the name "C. E. Dubois" in block letters.

The majority of photographs show individuals or groups of people and building exteriors, including urban residential and commercial buildings. The first seven pictures are studio portraits of unidentified individuals, and the album contains 13 additional photographs of two or more people on a porch and in gardens. Images include two men playing a game of chess on a porch, a group of men relaxing and drinking on the same porch, and a group standing on the dock at the Hoboken Yacht Club. The remaining pictures focus primarily on other subjects. Fifteen are images of homes, commercial buildings, gardens, a gazebo, and a view of the Cranford (New Jersey?) train station, and the Martha Institute of Hoboken. The album contains four views of the Hoboken Yacht Club in which ships' masts are sometimes visible. The final two photographs are related to the "Oceana Hose" firefighting company a picture of a horse-drawn hose carriage and a view of the firehouses for "Oceana" and "Excelsor" alongside a saloon and another business. Firefighters in top hats appear in both of these photographs. Also of note is a photograph of a group of women on a porch viewing a photograph album.

The Charles J. Merz photograph album contains approximately 147 images, the majority of which show places and people around the area of Detroit, Michigan, during the late 19th and early 20th-centuries.

The album (27 x 36 cm) has maroon faux leather covers with "Photographs" stamped on the front and shows signs of considerable wear, including a damaged spine and detached front cover. While the album contains some traditional formal portraits, the majority of the photographs of people are more candid snapshots in nature. Images are presented on 9 x 12.5 cm prints with four to a page. Most photographs were taken in the Detroit-area (presumably all or mostly by Merz), with images including pictures of Belle Isle Park, elevated perspectives of city streets, boats (such as ferries, sailboats, and cargo boats) on the Detroit River, scenes from the aftermath of the Buick and Sherwood factory fire, Elmwood Cemetery, bridges, railroads, carriages, and family and friends in informal settings, including one portrait of an individual dressed in blackface. Also of interest are 32 photographs related to a militia group, with images showcasing training sessions such as rifle practice and marching drills, tongue-in-cheek portraits of militia members posing humorously in front of their tents at camp, and four views of a military parade in Washington, D.C. near the U.S. Capitol. The militia group being documented was likely the volunteer militia known as the Detroit Grays; one photograph is captioned “Detroit Gray’s Camp Sylvan Lake” while “Detroit Grays” also appears on flags present in some of the images. It may be the case that Merz was a member of the Detroit Grays. There are also a few images taken in Chicago and Colorado, including views of Michigan Avenue and the Garden of the Gods.

Several details help provide a date range for this album. One caption below a photograph of young men with bicycles simply reads “1888,” while the Buick and Sherwood factory fire (the aftermath of which is depicted in several images) took place in 1892. A flag visible in one of the militia camp photographs also reads, “Detroit Grays Organized May 7, 1895,” and a picture of the side paddle ferry Greyhound indicates that it was part of the White Star Line, which acquired the Greyhound in 1902. Finally, the caption of a view of the Belle Isle Power House states that the site represented is “where the casino is today.” Since a casino was built at that location in 1907, this would suggest that the album may have been compiled a number of years after the photos were taken.

Merz himself is identified in a photograph showing him holding a box camera and standing next to two other young men on a city street. He is identified in the caption as “Charles J. Merz Photographer,” and stands alongside two other young men identified as "Charles Rapp" and "Gus Hartman." A self-portrait of an unidentified young man and his camera taken in a mirror could also possibly be Merz, and he appears to show up in other photographs as well. He may also be pictured some of the militia photos, but due to the general lack of captions it is difficult to be certain. Two unused pages at the end of the album are covered with childish doodling, including one drawing adjacent to the inscribed name “Olive Merz”, Charles’s daughter, which would suggest that the album was once in the possession of the Merz family.

The Chicago photograph album contains pictures of buildings, park landscapes, and people in Chicago, Illinois; Grand Rapids, Michigan; and Detroit, Michigan. Items include interior and exterior views of a Chicago home, portraits of small groups of individuals, views of gardens in John Ball Park (Grand Rapids, Michigan), and a photograph of a steamboat in the Detroit River.

The Chicago photograph album (14cm x 18cm) contains 24 photographic prints, each placed in a 9cm x 11.5cm window. The first item is an exterior view of a home located at 5828 Indiana Avenue in Chicago, Illinois, and the following eight items are interior views of parlors and a dining room; one shows a woman sewing. The album includes six photographs of John Ball Park in Grand Rapids, Michigan, with various garden scenes and a shot of two women in a small horse-drawn carriage, and one photograph of the steamer "The North Land" passing Belle Isle near Detroit, Michigan. One item features the Michigan Soldiers' Home in Grand Rapids, Michigan, and another shows a woman feeding a group of birds there. The remaining six items are informal group and individual portraits taken in Washington Park (Chicago, Illinois) (2 items), Palmer Park (Detroit, Michigan) (1 item), "Our Back Yard" (Chicago, Illinois) (1 item), and unidentified outdoor locales (2 items); two men posed by a bicycle in Washington Park. The album's cover is decorated with a colored floral pattern, with a gray geometric pattern near and covering the spine.

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 and country life photograph album contains approximately 70 photographs primarily showing the city and country residences of an unidentified wealthy family.

The City and country life photograph album contains approximately 70 photographs primarily showing the city and country residences of an unidentified wealthy family.

The album (21 x 27 cm) is half bound in black leather and has a detached front cover.

City scenes include views of townhouses on a city block in winter; a woman entering a carriage beyond a decorative wrought iron fence; a well-dressed couple in a two-wheeled carriage; an infant in a wicker baby buggy; a housekeeper or servant standing at a side door; and women and a young girl standing on a city street in elegant winter capes, muffs and hats. One woman stands on a snowy sidewalk holding a Kodak Brownie camera in her gloved hands. Five photographs show well-furnished formal interiors.

Rural scenes include views of a log house on a wooded lake whose well-furnished interior includes bookshelves, Native American baskets and textiles, snowshoes, a wolfskin rug, a desk, a chaise, and a piano. Men and women are shown with guns and gamebirds, fishing from a dock and in a rowboat, and partaking in an elaborate outdoor tea party. One photograph shows a Native American man sitting on the cabin steps. Nature views include images of logs in a flooded river, streams, a small wooded island, and a spotted fawn.

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 Civil War Battlefields photograph album contains pictures of broken wooded landscapes and military cemeteries.

The Civil War Battlefields photograph album (17cm x 29cm) contains 34 pictures of broken wooded landscapes, Arlington National Cemetery in Virginia, and views of a river, likely the Potomac. Each numbered print is mounted in a 11.5cm x 16.5 cm window, framed by a thin gold border with decorations at the corners. Most images are views of wooded landscapes, many showing evidence of possible military activity and earthworks, taken in unidentified flat and hilly regions. Streams, small wooden buildings, and fences are sometimes visible. The album begins with a camping scene, presumably a self-portrait of the album's unidentified compiler in the field. Another view shows a group of three posed on a house's porch. Two photographs show a three-story domed public building, adjacent to what appears to be a war monument. Four pictures show Arlington National Cemetery, one including a plaque with lines from Theodore O'Hara's poem "Bivouac of the Dead." Of particular note is a group portrait of seven African American schoolchildren with their young teacher, taken inside a crude schoolhouse; the following picture shows the exterior of two wooden buildings, possibly in the same unknown location.

The Colombia photograph album contains approximately 110 photographs showing scenes from Cartagena, Turbaco, and Barranquilla in Colombia.

The Colombia photograph album contains approximately 110 photographs showing scenes from Cartagena, Turbaco, and Barranquilla in Colombia. The album (18 x 28 cm) is half bound in black leather. Images of particular interest include photographs related to diplomatic functions, such as views of the British and Spanish consulates, interiors of the American consulates in Barranquilla and Cartagena, two portraits of the British Consul and family, and a series of portraits of the large family of the Spanish Consul, "Familia Zubiria Stevenson." Other images of note include photographs of a bullfight, the tomb and former home of Rafael Núñez, street and architectural views, churches, thatched huts, local inhabitants including mule drivers and cemetery workers, guns at the Baluarte de San Javier, soldiers in formation, and harbor views including views of passanger sternwheel ferry Alicia and a clipper ship. Some photographs have handwritten captions in Spanish.

The Colorado photograph album contains photographic prints of towns, mines, scenery, and people in southwest Colorado, taken during the late 19th century.

This photograph album (21cm x 29cm) contains 25 photographic prints of towns, mines, scenery, and people in southwest Colorado. The first 18 photographs are identified on a printed list of captions enclosed in the volume, and the final seven, which are attributed to W. J. Carpenter of Telluride, Colorado, have captions and negative numbers handwritten on the negatives. The book's covers are wooden boards covered with a soft mohair-like padding; a deteriorated leather cover, now detached, is stamped with the title "Art Album." Each of the photographs shows a scene from southwest Colorado, including street-level and higher-vantage views of Telluride, Ouray, Silverton, the Sheridan Mine entrance, Marshall Basin, the San Miguel River, and numerous mountains. Burros, miners, and a group of Ute Indians are pictured, as well as a group of men in the process of branding cattle, a group of tourists (including women) on horseback, a group of men labeled "Dry Creek Cow Boys at Dinner," and the "highest suspension bridge in the world."

The Cook family photograph album contains carte-de-visite and tintype studio portraits of members of the Cook, Augusbury, and Zoller families of Cedar Rapids, Iowa; Boone, Iowa; and Watertown, New York.

The Cook family photograph album (15cm x 12cm) contains 16 cartes-de-visite, 6 tintype prints, and 2 card photographs. The pictures are studio portraits of members of the Cook, Augsbury, and Zoller families taken in Cedar Rapids, Iowa; Boone, Iowa; and Watertown, New York, in the late 19th century. Most photographs feature women, infants, and young children, and a list of captains identifies each person pictured. One card photograph shows a daguerreotype studio portrait of a young girl. The album's brown leather cover is stamped with decorative designs, some in gold. One of the volume's two original metal clasps is still affixed to the back cover.

The Corning-Southwick photograph album contains cartes-de-visite and tintypes of infants and young children. Several people pictured were members of the Corning and Southwick families.

The Corning-Southwick photograph album (13cm x 9cm) contains 15 cartes-de-visite and 3 tintype photographs, primarily of babies and young children. Many of the children pictured were members of the Martin, Corning, Gardner, and Southwick families. Two lithographs of a young girl putting on a boot and a young boy posing by a basket full of apples are also present. Included is a carte-de-visite showing the wedding of Charles Sherwood and Lavina Warren Stratton (Mr. and Mrs. Tom Thumb). The album has a decorative hard cover and a metal clasp.

The Covington family album contains formal studio portraits of members of the Covington family and other individuals taken in Pennsylvania, Delaware, and Maryland around the 1860s. The volume also includes two colored lithographs.

The Covington family carte-de-visite album (13cm x 16cm) contains 25 carte-de-visite and 7 tintype photographs of members of the Covington family and other individuals; an empty paper frame is laid into the volume. The formal studio portraits, which show men, women, and children, were taken in Philadelphia, Pennsylvania; Baltimore, Maryland; Wilmington, Delaware; and other locations around the 1860s. One man is shown with a cigar or similar object in his mouth. Two colored lithographs depict a young girl waking up on "Christmas Morning" and a yellow "Persian Rose." The album's brown leather cover has tooled geometric designs and two metal clasps.

The Crum-Ely family photograph album contains studio portrait photographs of individuals and groups living in Ohio. There are 28 cabinet photographs and 14 cartes de visite, and many pages include hand-written identifications of the subjects in the photographs.

The Crum-Ely family album (27.25 x 21.5cm) is a 34 page maroon plush velvet album containing 42 studio portrait photographs of individuals and groups living in Ohio and other Midwestern states. The people featured include members of the Crum, Ely, Folck, Matthias, Greer, Gilbert, and Riddle families. There are 28 cabinet photographs and 14 cartes de visite, and many pages include hand-written identifications of the subjects in the photographs.

The photographs were taken in West Unity, Bryan, Wauseon and Fayette, Ohio. There are also portraits from Osage Mission, Kansas and Bowman, Missouri.

Of note is the portrait of two women and a dark skinned man serving them.

There is a humorous occupational portrait of "Ed and Griffin" as tailors.

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 C. Wallace Bell photograph album (40 x 31 cm) contains 34 photographs including images of paintings of ships and other maritime subjects, views of the Central Pacific Railroad in the United States, and views of coastal regions of Cornwall (England) and Snowdonia (Wales) from ca. 1880.

The C. Wallace Bell photograph album contains 34 photographs including images of paintings of ships and other maritime subjects, views of the Central Pacific Railroad in the United States, and views of coastal regions of Cornwall (England) and Snowdonia (Wales) from ca. 1880. Each photograph is surrounded by a hand-drawn pen and ink border loosely related to the content of the image. Below each image and within the bounds of the illustrated borders there are titles/captions detailing the location and subject. The photographs are housed in a burgundy leather album (40 x 31 cm) with “C. Wallace Bell” stamped in gold on the front cover.

The first four photographs are of the Central Pacific Railroad. These photographs show the railway traversing through canyons, along rivers, and upon cliffsides throughout California, Nevada, and Utah, and were likely produced by Alfred A. Hart. The next six photographs were likely all taken by Danish photographer Anton Melbye and are all images of paintings that illustrate various historical maritime subjects including Eddystone Lighthouse, ships near Constantinople and on the Bosphorus, a Danish corvette, and the “Sinking of the Scotch Frigate 'Bothwell' by the Danish Frigate off the Western Island, A.D. 1567.” The remaining 24 photographs appear to have been produced by English photographer Francis Frith, as the blind stamp "Frith's Series" appears on several images. These images primarily show coastal regions and natural landscapes in Cornwall and Wales. Specific locations represented include Land’s End, Kynance Cove, a fairy glen in Betws-y-Coed, Cadair Idris, Barmouth, Afon Mawddach, Llyn Cwm Bychan, Moel Siabod, Bembridge Point, Llanberis Pass, Clovelly Beach, Tal-y-llyn, Bedruthan Steps, Criccieth Castle, Scratchell’s Bay, and Gurnard’s Head among others. Many of these sites are well-known lookouts, rock formations, and hiking trails.

The Dai Tōa Sensō hōdō Shashinroku [Photographic News Record of the Great East Asia War Album] contains 40 mounted photographs depicting events from the Pacific theater during World War II up to circa 1942. With Japanese letterpress titles and descriptions. Includes images of Pearl Harbor, the advance on the Malayan peninsula, the fall of Singapore, the Philippines, the island of Corregidor, and portraits of Japanese military commanders.

The Dai Tōa Sensō hōdō Shashinroku [Photographic News Record of the Great East Asia War Album] (20 x 15 cm) contains 40 mounted photographs depicting events from the Pacific theater during World War II up to circa 1942. With Japanese letterpress titles and descriptions. Includes images of Pearl Harbor, the advance on the Malayan peninsula, the fall of Singapore, the Philippines, the island of Corregidor, and portraits of Japanese military commanders.

The photos are mounted on unbound cards. The album has a faded navy blue cloth cover with gold embossed printing, and is housed in a gray wrapper with green cloth spine.

The Black River Lumbering Photographs collection consists of 16 albumen prints depicting the Black River logging camp (presumably Alger, Smith & Company) in Alcona County, Michigan taken by an unknown photographer sometime ca. 1880. All of the photographs have penned captions written in the same handwriting. The collection includes images of camp buildings, the cutting, stripping and transport of logs by rail, water and horse drawn wagons, as well as images of lumbermen at work.

The Black River Lumbering Photographs collection consists of 16 albumen prints (24 x 19.15 cm) depicting the Black River logging camp (presumably Alger, Smith & Company) in Alcona County, Michigan taken by an unknown photographer sometime ca. 1880. The prints are individually pasted on 30.5 x 25.5 cm brown paper mounts. All of the photographs have penned captions written in the same handwriting on the back of the mount. The collection includes images of camp buildings, the cutting, stripping and transport of logs by rail, water and horse drawn wagons, as well as images of lumbermen at work. Of particular note is a photograph (#5) of what appears to be a married couple in front of their log-cabin home.

The D. M. Dewey color printed nursery sample book contains over 50 pages of full color botanical illustrations that were marketed to individuals involved in the seed trade for use as advertisements.

Dellon Marcus Dewey (1819-1889) was a bookseller, publisher, art patron, and illustrator based in Rochester, New York. In the mid-1850s, he became renowned for his stenciled watercolor bookplates of botanical products. He sold the illustrations to people involved in the floral and nursery trade for use as seed advertisements. Dewey employed many immigrant artists to create hundreds of illustrations that would be compiled into sample books.

Dewey utilized a multi-layer production process called “theorem painting” in which stenciled transparent watercolors were used to gradually construct layers of color before final touches were added by hand. However, in the 1870s Dewey began to transition into using the more cost-effective chromolithographic color printing process. By 1881, his company provided over 2,400 varieties of botanical illustrations. In 1888 Dewey's business was combined with the Rochester Lithographing and Printing Company before he passed away the following year.

The D. M. Dewey color printed nursery sample book contains over 50 pages of full color botanical illustrations that were marketed to individuals involved in the seed trade for use as advertisements.

The sample book (14 x 23 cm) contains a mixture of both stenciled watercolor and chromolithographic designs that depict a wide variety of fruits, flowers, and trees in vibrant color and exquisite detail. Also present is a printed list of flowers and crops with their prices as well as a newspaper clipping concerning the Colorado State Fair and its fruit and agriculture exhibits.

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 Eagleswood Academy album is a 50 page cartes de visite album given to Theodore Weld by his former students at Eagleswood Academy in Perth Amboy, New Jersey on November 23, 1863. The 24 x 31 cm album has a brown leather cover, entitled "Theodore D. Weld" in gilt inlay. The album contains 194 photographs the majority of which are cartes de visite with some tintypes and gem tintypes interspersed. All of the photographs in the album are studio portraits. Most are presumably former students of Eagleswood Academy. Many of the individuals in the album are unidentified. Four loose items are also present in the album: an 1895 lithograph portrait of John Adams; a calling card for Mrs. Silas F. Overton; a calling card for a Miss Moseley; and a list of names, presumably of people within the album, that seems to have been created at a later date, presumably by Weld's daughter Sarah Grimké Weld Hamilton.

The Eagleswood Academy photograph album consists of a single bound volume of carte de visite photographs tucked into the pages along with some gem tintypes, one of which is encased. The album contains slots for four different photographs on each page. There are 169 cartes de visite in the album, all of them studio portraits of either individuals or small groups. There are also a few instances where gem tintypes are placed within the same slot as a carte de visite.

The album appears to have been gifted to Theodore Weld in 1863 from his former students. While many of the photographs were likely present in the album at that time, it appears that other photographs were added through the 1870s and possibly later. The photographs are mostly of Weld's former students, though some are individuals who appear to have no explicit connection with the school.

Enclosed in the album is a folded sheet of paper containing a list of names. Individuals on this list partially correspond to the physical order within the album. The list appears to have been created during the late 1860's and amended up until approximately 1877. Asterisks seem to indicate that the person had passed away, though in some cases the individuals without asterisks on the list had been dead for years prior. It appears that no new entries were added after 1877. The authorship of the list is uncertain, but appears to have been Sarah Grimké Weld Hamilton.

In 1886 Theodore Weld began reaching out to former students for additional photographs to put together in an album. Some of the photographs in this album may come from this period. A January 1, 1899 letter from Sarah Hamilton to her daughter mentions that she received her father's old school album with many pictures of her old classmates and their spouses and children. From this statement it appears that not all the people in the album necessarily went to or taught at Eagleswood.

Three other loose items are also present in the album: an 1895 lithograph portrait of John Adams, a calling card for Mrs. Silas F. Overton, and a calling card for a Miss Moseley.

Some of the photographs within the album have names written on the back, while others offer no clues as to who the person is. Through other sources some of the unnamed individuals in the album have been tentatively identified.

One interesting item of note is the photograph in slot #196 of the album, which has portraits taken many years apart of the same (unidentified) individual on both the front and back of the paper mount.

• A portrait of Charles Burleigh Purvis, African-American doctor and cofounder of Howard Medical School. (slot #53)
• A portrait of Bayard Wilkeson in Civil War uniform. Wilkeson died aged 19 at Gettysburg on July 1, 1863. (slot #85)
• A portrait of Ellen Wright Garrison, daughter of Martha Coffin Wright and niece of Lucretia Coffin Mott, the famed women's-rights activists who organized the 1848 Women's Rights Convention at Seneca Falls, NY. (slot #32)

The Eagleswood album contains penciled inscriptions beneath the various photographs, often times recording the name of the photographer as well as any other information written on the back of the paper mount of the photograph. Researchers should be aware that this information was added by a former member of staff and numerous errors are present. For conservation reasons these inscriptions have not been erased.

• Photographer Index, containing the names of all the photographers in the album as well as any inscriptions handwritten on the photographs.
• Individuals Index, containing the names of all the identified, and tentatively identified individuals who have portraits present in the album.

The Eastern shore photograph album (13 x 17 cm) contains 48 amateur photoprints showing scenes from Atlantic City, N.J. and what appears to be downtown Baltimore, Maryland.

The Eastern shore photograph album (13 x 17 cm) contains 48 amateur photoprints showing scenes from Atlantic City, N.J. and what appears to be downtown Baltimore, Maryland. There are numerous images featuring horses and carriages, including a photograph at a racetrack. There are several photographs of boats including an image of the New York Ocean Going Excursion Steamboat "Columbia." A number of images show bathers on the beach and boardwalks at Atlantic City, N.J., including two views of the Heinz Ocean Pier. Other interesting photographs include a self-portrait and three images of a dressed up skeleton, perhaps for Halloween.

The album is covered in plastic, has a black cloth binding and is housed in a light blue box.

The Edwin F. Belden friendship album contains autographs (sometimes accompanied by poems or other inscriptions), newspaper clippings, and biographical notes by and related to New York politicians, Civil War soldiers, and other individuals. Photographs are also included.

The Edwin F. Belden friendship album (25cm x 18cm, 141 pages) contains autographs (sometimes accompanied by poems or other inscriptions), newspaper clippings, and biographical notes by and related to New York politicians, Civil War soldiers, and other individuals. Included are 112 salted paper and 3 albumen photographic portraits. The album has a hard cover with Belden's name and a decorative border stamped in gold on the front. Plates on the inside of the front and back covers feature a patriotic eagle and banner with the slogan "The Federal Union it must be preserved" and of a building used as "Republican Head Quarters" in 1860.

The first 37 pages contain signatures from members of the New York State Assembly, where Belden was a messenger in the early 1850s. Some politicians accompanied their signatures with brief personal message for Belden, often including well wishes and advice. Many signers recorded the name of the district they represented, and most dated their contributions April 16, and 17, 1851. This section of the album is followed by other autographs that Belden solicited in the mid-1850s, as well as an endorsement from his employers Lemuel Jenkins and C. Ten Broeck (November 22, 1852, p. 41).

The remaining contents, dated 1860-1866, are comprised of small photographic portraits, brief biographical notes, inscriptions, autographs, and newspaper clippings related to a variety of individuals, including many men who served in the Civil War. One page of individual full-length portraits represents members of the Albany Zouave Cadets with military equipment and musical instruments. Belden labeled most of the photographs and often included notes about the subjects' dates of death. Several entries include copied correspondence, inscriptions and autographs, and obituaries or other news articles. Contributors included former New York Governors Washington Hunt and John A. King; General William Tecumseh Sherman; and Samuel Streeter, a former delegate representing Albany at The Colored Men's Convention of 1840 (also pictured, October 30, 1860, p. 63). A letter from William F. Russell, a former member of the state legislature, is laid into the volume after the autographs (April 19, 1886).

Edward E. Wilcox, a native of Franklin County, New York, wrote narrative recollections of hunting trips, painted watercolors, created sketches and drawings, and pasted photographs and newspaper clippings in this volume around the 1890s. Most of the material concerns hunting and fishing excursions in northern New York and southern Québec.

Edward E. Wilcox, a native of Franklin County, New York, wrote narrative recollections of hunting trips, painted watercolors, created sketches and drawings, and pasted photographs and newspaper clippings in this journal from approximately 1893-1896. Most of the material concerns hunting and fishing excursions in northern New York and southern Québec. The volume contains 200 pages, not all of which are used.

Wilcox wrote a 2-page introduction on June 2, 1893, intending to record details of his life for friends and family to discover after his death. In approximately 43 additional pages of prose, he wrote about his courtship with and wedding to Clara Stuart, his early years in New York City, numerous hunting and fishing trips in northern New York, and a summer vacation in New Hampshire and Québec. Two of the accounts describe a salmon run and an encounter with bears, and one pertains to a youthful prank. Some of the journal's watercolors, drawings, and sketches illustrate aspects of Wilcox's travel stories; most depict hunters, fishers, fish, rowboats, cabins, and woodland scenery. One pencil drawing utilizes shading to create the illusion of a nighttime view and appropriate shadows. Photographs include a picture of a man in a military uniform posing by a paper globe and paper cannonballs (possibly taken around 1917), studio portraits of an unidentified man and woman, a studio portrait of a man in his underwear, views of steamboats in a canal or lock, pictures of cacti in a desert, and a picture of hunters in a wooded area. Also present are interior shots of a shipping or similar commercial office and a man working in an enclosed office space, as well as street scenes. Two newspaper clippings concern E. E. Wilcox's use of shed human skin as a painting canvas and a painting he made as a young man.

The Emory L. Smith Normal Music Institute autograph album contains autographs and inscriptions from the institute's instructors and students, who signed their names, wrote brief inscriptions, and quoted music.

The Emory L. Smith Normal Music Institute autograph album contains 21 autographs and 2 autographed visiting cards that Smith collected in North Reading, Massachusetts, from August 14, 1861-August 20, 1861. Some of the signers, who included instructors and male and female students, wrote brief personal messages and/or copied bars of music. Small photographic portraits are pasted directly into the volume beside five entries. The red leather cover has a decorative design around the border; the title "Autographs" is part of a gilt design on the front cover that includes a wreath, an autograph book, and a quill.

The European vacation photograph album contains 74 photographs taken throughout Europe ca. 1910. A majority of the photos show various rooms and interior views of an apartment in Rome. Other specific locations include Oxford (England), Subiaco (Italy), Canterbury (England), Füssen (Germany), Weesen (Switzerland), and Glarus (Switzerland).

The European vacation photograph album contains 74 photographs taken throughout Europe ca. 1910. A majority of the photos show various rooms and interior views of an apartment in Rome. Other specific locations include Oxford (England), Subiaco (Italy), Canterbury (England), Fussen (Germany), Weesen (Switzerland), and Glarus (Switzerland).

The first 50 photos housed in the album consist primarily of interior views of the apartment. Handwritten notes provide general descriptions of the view (e.g. "looking from salon through little room where the books are into the salottino"). One specific piece of furniture mentioned is a credenza; which, according to the note, came from the British Embassy. Also included are images of a garden terrace (covered in snow), rooftop cityscape views of Rome, and three individuals (man, woman, and maid). The woman, likely the creator of the album, is referred to as Mable and the maid as Livie. In addition, there is one photo of the Holywell Ford House at Magdalen College, Oxford.

The remaining 24 photos are loose and housed in an envelope. These images show scenes of traveling and sightseeing throughout Europe. Specific sites include the House of Agnes in Canterbury, Sacro Speco in Subiaco, and downtown views of Weesen and Füssen. Of particular note is a photo of a pile of empty fiaschi. The handwritten notation on the back reads "This is our pile of empty wine flasks. I don't belong to the WCTU."

The album is 20.5 x 15 cm with black cloth covers.

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 F. Jay Haynes Yellowstone album contains professional photographs of natural landmarks in Yellowstone National Park taken around the early 1880s.

The F. Jay Haynes Yellowstone album (26cm x 19cm) contains 48 pictures of natural landmarks in Yellowstone National Park taken by Haynes circa 1880s. Each 12cm x 20cm print is surrounded by a gold border printed onto the album's removable pages. The volume is bound with a tied string and the title "Photographs" is stamped onto the front cover in gold. A bookplate for F. Jay Haynes is pasted onto the back page.

The photographs show numerous landmarks from the part of Yellowstone National Park that lies in present-day Wyoming. The album contains pictures of several geysers and geyser craters, sometimes with tourists present, and a hotel is visible in pictures taken near Mammoth Hot Springs. Included are sights such as the Grand Canyon of the Yellowstone, the Upper Falls of the Yellowstone River, the Lower Falls of the Yellowstone River, and the Golden Gate. One picture taken beside the Snake River shows "The Three Tetons" rising above the horizon, and one without a caption shows horse-drawn carriages beside a long building. For a list of landmarks pictured, see Additional Descriptive Data below.

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 Florence Gould photograph album primarily contains pictures taken during the Gould family's stay at "Pinelands," their summer home in Topsfield, Massachusetts, in September 1896. The photographs show room interiors, members of the Gould family, and the house and its surroundings. Pictures from May 1897 and April 1902 show the Gould family and scenes in and around a home in the Maplewood neighborhood of Malden, Massachusetts.

The Florence Gould photograph album (22cm x 17cm) contains 110 photographs of the Gould family, mostly taken at "Pinelands," the family's summer home in Topsfield, Massachusetts, in September 1896. Much smaller groups of photographs were taken at the Gould family's home in the Maplewood neighborhood of Malden, Massachusetts, in May 1897, and at an unidentified location on April 19, 1902. The three pictures from 1902 are cyanotypes, and the remaining photographs are primarily silver gelatin prints. Florence Gould presented the album to her brother, George L. Gould, and his family at Christmas in 1896.

The largest group of photographs pertains to the family's life at Pinelands in September 1896, including exterior views of the house and grounds and candid and posed group photographs taken on the home's porch. Various members of the Gould family, particularly Rosamond and Bertram Gould, appear in the pictures, as do some of the family's pets, and at least three photographs show people sleeping. Rosamond Gould is the subject of many photographs, which show her playing with a doll, sitting with her sister Miriam in their shared bedroom at Pinelands, and riding bikes with her brother Bertram near their Maplewood home. The photographer also accompanied Bertram and others on an excursion to a golf course in Topsfield. Members of the family are also pictured riding in a horse-drawn carriage in the mid-1890s and preparing to embark for Topsfield in April 1902. The album also includes many interior views of the Gould family's homes in Topsfield and Malden, including shots of sitting rooms, dining areas, staircases, and bedrooms. One vanity's mirror reflects another mirror sitting across the room, which in turn reflects the first mirror.

The Foley family photograph album, a gift from Sister M. Regina of Oakland, California, contains pictures of paintings, sculptures, and buildings. The paintings and sculptures mostly depict Biblical scenes and figures from ancient Greek, ancient Roman, and 19th-century European history. Other items are scenes from Grenada and present-day Yosemite National Park.

The Foley family photograph album (approximately 41cm x 34cm), a gift from Sister M. Regina of the Sacred Heart Convent in Oakland, California, contains around 230 commercially produced photographic prints of paintings, sculptures, buildings, with views of Grenada and present-day Yosemite National Park. Fourteen loose prints are housed in an envelope laid into the volume, and the others are pasted as many as nine to a page. A title detailing the volume's provenance is stamped in gold on the front cover.

The album contains numerous photographic reproductions of important late-Renaissance paintings, 19th century Biblical and history paintings, portraits of 18th and 19th-century European monarchs, and sculptures of the ancient Greeks and Romans. Many of the artists are identified, with Raphael most prominently featured. A few 19th century genre paintings are also reproduced. Napoléon Bonaparte and his family is a reoccurring subject. The statues are primarily likenesses of Greek and Roman philosophers, authors, and mythological characters, plus more modern figures such as Galileo and Machiavelli. The album also contains photographs of famous European buildings and structures such as the Roman Coliseum, the Bridge of Sighs in Venice, the Paris Panthéon, Saint Peter's Basilica at The Vatican, the tomb of Victorio Alferio Astensi in Florence, and that of Napoléon Bonaparte in Paris. Several pages of individual portraits depict the crowned European monarchs as of 1882. A handful of photographs are scenes of the waterfront of Grenada and impressive views of the waterfalls, mountains, and other natural scenery in present-day Yosemite National Park. Of note is an unusual view of tourists at the gate to the Yosemite geyers and steambath.

The Franconia Notch and Washington, D.C. photograph album consists of 65 photographs primarily showing landscape scenes of Franconia Notch, New Hampshire, architectural views of Washington, D.C., and a camping trip to an unidentified location likely somewhere in the Northeast.

The Franconia Notch and Washington, D.C. photograph album consists of 65 photographs primarily showing landscape scenes of Franconia Notch, New Hampshire, architectural views of Washington, D.C., and a camping trip to an unidentified location likely somewhere in the Northeast. The album (18 x 27 cm) is half bound in brown leather with brown cloth boards. Washington, D.C.-related views include the White House with an interior ballroom, the Washington Monument, the Teasury Building, the U.S. Capitol, the Smithsonian Castle (with the Capitol in the background), and the Senate and House chambers. Camping-related images include photographs of a wooded lakeside area showing campers hiking, boating, painting, fishing, playing guitar, reading, and contemplating the scenery. In one view of a tent encampment in a grove of trees, a table is set for a meal, and a man stands beside a camera on a tripod. Several people from the camping trip are shown in various other settings: in a back garden, in front of a frame house with fencing, and in several Victorian-style interior rooms. Additional photographs show the Maplewood Hotel in Bethlehem, New Hampshire, and a boardwalk (possibly in Atlantic City, New Jersey).

The Frederick L. Webb carte-de-visite album contains portraits of 12 non-commissioned officers who served in the 10th New York Cavalry Regiment during the Civil War.

The Frederick L. Webb carte-de-visite album (13.5cm x 10cm), entitled "Non-Commissioned Staff, 10th N. Y. Cavalry," contains formal studio portraits of 12 non-commissioned officers who served in the 10th New York Cavalry Regiment during the Civil War. Each man posed in uniform with a sword and two also posed with bugles. The officers are identified as master sergeants, quartermaster sergeants, commissary sergeants, saddler sergeants, chief buglers, a veterinary sergeant, and a hospital steward. The album's title is printed on a small piece of paper pasted into the book before the portraits; the text is framed by a decorative border. The volume's red leather cover has a tooled geometric design, and its small clasp is shaped like a lyre.

This album contains photographs taken during a hiking trip in the Grand Canyon at about the turn of the century. The pictures show hikers, canyon scenes, burros, and scenes from the hikers' railroad trip on the Atchison, Topeka, and Santa Fe to the canyon.

This album (12cm x 14cm) contains 32 photographs taken during a trip to the Grand Canyon around the 19th century, as well as one photograph of George T. Chaffee riding a horse named "General." A few items show railroad tracks belonging to the Atchison, Topeka, and Santa Fe Railroad near the Missouri River and the railroad car "Dorchester." The remaining photographs are scenes from a small group's hiking trip along the Bright Angel Trail in the Grand Canyon, including pictures of the hikers in former cave-dwellers' homes, beside the Colorado River, and at the canyon's rim. Views of the canyon and other scenery are also included. The title "Photographs" is stamped in gold on the album's leather cover.

The Galveston, Texas photograph album contains 33 photographs, the majority of which depict Galveston, Texas ca. 1908.

The Galveston, Texas photograph album contains 33 photographs, the majority of which depict Galveston, Texas ca. 1908. Included are cyanotypes, albumen prints, and postcard photo prints. Photographs consist of a railroad crossing tower, railroad station, trestle bridge, freight and passenger steamers, downtown street views, family photographs, grandstands, earth embankments, buildings under construction, and Galveston's seawall and grade raising project. Amusement/water parks shown include Electric Park (Galveston, Texas), Chutes Park (Galveston, Texas), and Lake Cliff Park (Dallas, Texas).

The album is 19 x 14.5 cm with brown paper covers. A cyanotype of an unidentified building is pasted to the front cover.

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.

The George Fiske Yosemite photograph album (19 x 27 cm) contains 24 albumen print photographs primarily of landscape views of Yosemite Valley.

The George Fiske Yosemite photograph album (19 x 27 cm) contains 24 albumen print photographs primarily of landscape views of Yosemite Valley. Images of note include a coach drawn by a 6-horse team moving down a dusty track ("Going to Yosemite"); and a photograph of Galen Clark standing in front of the "Grizzly Giant" sequoia. Includes one laid in photograph.

All photographs are marked on negative with a number and "Fiske;" two photographs marked, "Copyright 1884 by Geo. Fiske." Bookplate advertisement affixed to verso of last page: George Fiske, Landscape photographer. Views & Groups to Order.

Going to Yosemite -- Yosemite Valley during a storm -- Up the valley from Bridal Veil Meadow -- Bridal Veil Fall -- El Capitan -- Cathedral Rocks -- Cathedral Spires -- Mirror view of Three Brothers -- Yosemite Falls -- Instantaneous view of Upper Yosemite Falls -- Glimpse of the North Dome -- Sentinel Rock after a snow storm -- Sentinel Rock from near Union Point -- The Domes from Moran's Point -- Overhanging Rock at Glacier Point -- Half Dome and Glacier Point -- Half Dome, Vernal and Nevada Falls; Mt. Clark and Mt. Starr King from Glacier Point -- Merced River from near Tissack Bridge -- Mt. Watkins and Mirror Lake -- Vernal Fall -- Profile of Nevada Fall -- Wawona, Mariposa Grove -- Grizzly Giant, Mariposa Grove [with Galen Clark].

The album has a purple cloth binding, housed in three-part wrap with brown cloth spine.

The Gibson family vacation album contains photographs taken in South Carolina, Florida, Virginia, and New York circa 1897. The volume includes pictures of warships, buildings, and members of the Gibson family.

The Gibson family vacation album (14cm x 18cm) contains 23 photographs taken in South Carolina, Florida, Virginia, and New York circa 1897, as well as two halftone photomechanical prints and a carte de visite. The volume includes pictures of warships, buildings, and members of the Gibson family. The album's cloth-bound covers have two decorative designs, with the title "Photographs" appearing on the front. Each photograph is behind an 8cm x 8cm window.

The majority of the pictures show scenery and buildings in the South, such as George Washington's home at Mount Vernon, the Gonzalez-Alvarez House in Saint Augustine, Florida (accompanied by a newspaper clipping entitled "Oldest House in America"), the Saint Augustine slave market, Fort Sumter, and a Confederate monument in Magnolia Cemetery (Charleston, South Carolina). Other photographs from Florida show Saint Augustine streets and groups of people posing by palm leaves, bathing at Daytona Beach, and embarking on a picnic. The album contains three shots of sea-going vessels involved in the blockade of Cuba: the tugs, The Three Friends, the Dauntless, and the USS Vesuvius. The remaining items include a picture of women playing baseball in Salamanca, New York, and printed halftones of Elizabeth Cady Stanton and Willard A. Gibson. A carte-de-visite of a painted portrait of three young women is included.

The Gloversville, New York photograph album contains 100 photographs taken in Gloversville, New York, and the surrounding area ca. 1905.

The Gloversville, New York photograph album contains 100 photographs taken in Gloversville, New York, and the surrounding area ca. 1905. The first portion of the album consists of natural landscape and scenic cyanotypes. Also included are photographs of a flood, street-railroad cars, city street views, a photographer's studio, children, a farm, dogs, a drugstore, and a soda fountain. The last few pages of the album contain 60 small portraits.

The album is 20 x 14.5 cm with black cloth covers.

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 Greene Family Lake Winnipesaukee photograph album contains views of the Greene family's steam yacht on Lake Winnipesaukee, lakefront properties and lakeside scenery, pictures of people enjoying indoor and outdoor recreational activities, and formal portraits.

The Greene Family Lake Winnipesaukee photograph album (25cm x 30cm) contains 32 photographs taken on and around the New Hampshire lake in the late 19th century. Most prints are 24cm x 19cm, pasted one to a page, or 12cm x 19cm, pasted two to a page; one page has four prints, each 9cm x 12cm. The original covers are no longer extant.

A large steamboat, the Lady of the Lake, appears in one or two images. A small steamboat belonging to the Greene family, theMohawk, is shown on the water in numerous photographs, often with people relaxing on deck or waiting to board from a dock. The album contains many scenic views of lakeside properties, likely owned by the Greene family, including one of the Hotel Weirs. One boy posed by a tall flagpole with a large United States flag, erected next to a lakefront house, and one item shows a flock of ducks around a sign for Roxmont Mineral Spring, possibly part of the Hotel Weirs grounds. Some of the pictures are interior views of unidentified people relaxing in a parlor; in one photograph, a woman sits at the piano while a boy plays a horn and a man reads a newspaper from Boston, Massachusetts. J. A. Greene appears in at least two photographs; in one photograph he sits in a parlor with an unidentified woman and in another photograph he is shown with freshly caught fish along the lakeshore. Photographs of a hunting party beside a log cabin, fishing from a canoe, riding in a horse-drawn wagon, and posing by a dead deer are also included. The album has a formal group portrait of a man, woman, and young boy and a formal portrait of a young girl, all likely members of the Greene family. Two fanciful images show a person standing next to a florally decorated bicycle with a large umbrella attached and a staged scene of a tooth extraction set in a medical office. A second photograph of the same medical office shows a man writing at a desk.

A list of photographs is housed with the album.

The Greenwood family Christmas album, 1891 (13.25 x 23.5 cm) is a paper album containing 6 cyanotype photograph views of James and Marcellus Greenwoods' homes in La Crosse, Wisconsin, and two portraits.

The Greenwood family Christmas album, 1891 (13.25 x 23.5 cm) contains 6 cyanotypes in an album of cream textured paper, bound with a turquoise ribbon. "Christmas 1891." is written on the cover in blue ink.

The first page states "Dear Louise, Please accept this reminder of our family, with much love from Uncle James and Aunt Thankful."

The first photograph is a view of James and Thankful Greenwood's home in La Crosse, Wisconsin.

The second photograph is an interior view of the same house.

The third and fourth photographs are views of the interior and exterior of the home of Marcellus Greenwood.

The fifth cyanotype is of James Greenwood in front of a yeast cart.

The last image is of six children with play guns. Marcellus' young children George and Frederick Greenwood are present.

The Grenfell, Saskatchewan snapshot album (22.25 x 15.25 cm) contains 26 unidentified snapshot photographs and 1 index sheet. The contents are of landscapes, First Nations people and their campsites, village buildings, livestock, townspeople, and a locomotive.

The Grenfell, Saskatchewan snapshot album (22.25 x 15.25 cm) contains 26 snapshots and 1 index sheet. The title printed on the front cover reads "Scenes by the Way." The contents are of landscapes, First Nations people and their campsites, village buildings, livestock, townspeople, and a locomotive. A note written on the inside front cover indicates that this was a Christmas gift to a cousin, and a note below this includes information about the Grenfell railroad station. An index of captions is loose in an envelope within the album. The identified subjects in the album are referred to by their first names.

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 Hawaii photograph album contains approximately 130 photographs, including snapshots and commercially produced prints, that document a trip to Hawaii in 1924.

The Hawaii photograph album contains approximately 130 photographs, including snapshots and commercially produced prints, that document a trip to Hawaii in 1924. The album (18 x 30 cm) has tapa cloth covers. Images include views of a row of submarines at Pearl Harbor; surfers on Waikiki Beach; the Laie Mormon Temple on Oahu; the steamships Matsonia and Haleakala; scenic waterfalls and coastal views; and shots of tourists picnicking, swimming at the beach, and posed wearing grass skirts.

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 Holyoke Canoe Club photograph album contains pictures of canoeing and scenery along the Connecticut River, and of men and women socializing indoors and outdoors.

The Holyoke Canoe Club photograph album (19cm x 26cm) contains 65 pictures of scenery, communities, and activities along the Connecticut River. The red pebbled cloth cover has the title "Photographs" stamped in gold gothic letters on the front. Included are photographs showing wooded scenery and structures along the river, including pictures of the Holyoke Canoe Club boathouse, the sailing and paddling of canoes, and of men and women in sporting dress socializing indoors and outdoors. Many of the images focus on men in sailing canoes, including one view of a man sitting in a sailing canoe on shore with sails set. Two photographs show a woman standing next to a beached canoe and a woman paddling a canoe along a flooded street. Individual and group portraits appear, taken at a small cabin in a wooded area, in front of a doorway, beside an indoor fireplace, and beside indoor and outdoor tables set with food, among other scenes. A group gathered around a piano appears in two images, one of which shows two of the women holding banjos. The album contains exterior shots of churches and other unidentified buildings, some overlooking a body of water. A view of two horses pulling a large log on a sleigh is also included.

Of note are views of a steam launch at the canoe club dock; a view of canoes stored on racks inside the boathouse; and two views of the interior of what is likely a local textile mill.

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 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 John D. Bagley photograph albums consist of three photograph albums created by John DuCharme Bagley IV of the Bagley family of Detroit, Michigan.

The John D. Bagley photograph albums consist of three photograph albums belonging to John DuCharme Bagley IV of the Bagley family of Detroit, Michigan.

The photograph albums document the life of John DuCharme Bagley IV over a period of twenty years or so. Bagley IV was clearly an enthusiastic amateur photographer who enjoyed documenting his family and friends. The photos in all three albums are snapshot-sized and mostly taken outdoors. While the earliest album (Volume I) is extensively captioned, the other two are not.

Volume 1:

The first volume (14 x 30 cm) includes images taken between 1903 and 1905, including numerous photographs taken during a Bagley family trip to Europe. Bagley IV was a teenager at the time. Identified family members documented in this album include his older sister Frances, younger brother Phil, parents John N. and Esther, and an “Aunt Frankie” who was likely Esther’s sister. This trip appears to have lasted several months, perhaps the better part of an entire year. Locations visited included the German Alps, Naples, Rome, Pompeii, Lake Lucerne, Amsterdam, and London. The family’s return to New York by steamship is also represented. The remainder of this album documents experiences on Woodcote Farm in Ionia, Michigan, as well as family life in Detroit and outdoor summer activities at Long Lake in Grand Traverse County, Michigan.

Volume 2:

The second volume (20.5 x 30.5 cm) contains material compiled during World War I and afterwards. Views of the U.S. Naval Academy and of Washington D.C. are included, and Bagley IV is shown in many images wearing a naval uniform. Several warships (including what appears to be the USS Pennsylvania, commissioned in 1916) are pictured from afar throughout the album. One series of snapshots shows an Armistice celebration taking place at an unidentified location. Several pages showcase scenic views taken during a train journey through an unidentified mountainous region. The bulk of the remaining pictures in this album consist of portraits of family and friends posing informally in urban, domestic, and rural settings. Bagley IV appears regularly, usually in a business suit, and in a couple of cases he can be seen standing next to a Bagley & Co. company vehicle. Also present is a large loose photo that shows John J. Bagley’s birthplace in Medina, New York, which was photographed in 1895.

Volume 3:

The third volume (20.5 x 30.5 cm) contains numerous photographs taken during visits to New Mexico and Colorado in 1908 as well as Oregon in 1909. Images in the New Mexico section highlight operations and personnel of the Maxwell Irrigated Land Company. Bagley IV’s younger brother Phil may have been involved with this company. While it is not entirely clear which photos were taken in Colorado, numerous images of logging operations and logging camps were most likely taken in Oregon. Also present are personal photos showing Bagley IV and his wife Mary visiting forests and beaches. The final section of the album includes photos of Bagley IV in a navy uniform and views of the U.S. Naval Academy at Annapolis, Maryland.

The John W. Christie Princeton University photograph albums pertain to college life in the early 20th century. Events depicted include academic processions, costumed parades, bonfire preparations, and sporting events. The albums also contain numerous views of campus architecture and an image of the Liberty Bell on tour.

These three albums, compiled by Princeton University student John Watson Christie around 1904, contain 219 photographs of college buildings, events, and student life in the early 20th century. Volumes 1 and 2, each 15cm x 18cm, have green cloth covers with the word "Photographs" printed on the front in gold. Volume 3 (18cm x 28cm) has a deteriorating brown leather cover. Each album contains prints of various sizes, usually no larger than 8.5cm x 12cm, and the first two volumes include inscriptions by John W. Christie. A number of photos have come loose from the pages, and a few loose captions are laid into the first volume. An envelope that once housed a letter to Christie, postmarked in 1907, is laid into the second album.

Many of the photographs, including all but a few items in the third volume, are exterior shots of Princeton University buildings, grounds, and unidentified private or university residences. Interior views feature animal skeletons, religious ornamentation, and athletic banners and memorabilia. Most of the remaining items depict social events such as preparations for a bonfire, processions, and graduation ceremonies. Students are often shown in costumes, masks, or women's clothing, and the first two albums contain a few informal portraits of unidentified men and women. Also included are pictures taken during baseball and football games and during a parade that featured Native American costume. Christie also collected pictures of an ornate ship's bell that Princeton alumni presented to the United States Gunboat Princeton and of the Liberty Bell surrounded by a crowd. One photograph of a campus building in the third album is hand-colored.

The Kate and Robert Johnson photograph album contains interior and exterior images of the Johnsons' homes and grounds in San Francisco, and Menlo Park, California, as well as portraits of the Johnsons, their family members, and friends photographed at these locations. The pictures, taken by Eadweard Muybridge circa 1880, also include examples of spirit photography.

The Kate and Robert Johnson photograph album (30 x 25 cm) contains 84 images of the Johnsons' homes on O'Farrell Street in San Francisco, California, and "Heartsease" near Menlo Park, California, taken by Eadweard Muybridge circa 1880. The album has a pebbled brown cover with a binder's ticket from Partridge & Cooper, 192 Fleet St. [London].

The first group of 42 images consists of exterior and interior views of their San Francisco mansion, including views of parlors, bedrooms, and children's rooms. A few individual portraits taken on the premises are included. Of particular note are several spirit photographs of Robert and Kate Johnson, both of whom were alive at the time (20, 21, 24, 29). The couple's art collection is often visible including the painting "Elaine" by Toby Rosenthal. Furniture and decorative arts objects appear and reappear in different rooms and positions in the carefully composed images. In one image (37), it is possibly the photographer Muybridge who appears in a mirror reflection. The section ends with a close portrait of Robert C. Johnson.

The remaining 42 photographs are scenes from the Johnsons' "Heartsease" estate near Menlo Park, California. While the San Francisco photographs focus primarily on room interiors, the Menlo Park photographs mostly show the grounds and surroundings. Two images include sporting activities: a girl riding a young pony (70) and a group of men and women playing croquet (60). A photographic title page image for this section includes Muybridge's pseudonym "Helios" (44). Also included is a portrait of one of Kate Johnson's numerous cats, her affinity for which was well-documented (43).

This album showcases Muybridge’s interest in urban architecture and landscape photography, his success in earning commissions from notable men and women, while also touching on San Francisco’s rapidly developing wealth. It highlights the Johnsons' ornate mansion, their expansive art collection, and features both their urban homestead and rural retreat simultaneously. Moreover, with portraits, staged "spirit" photographs, and landscape scenes placed alongside more traditional photographs of the Johnsons' homes, the album speaks to Muybridge’s multiple artistic talents and the nuances of the Johnson’s personalities.

The Key West, Dry Tortugas album (10 x 12 cm) contains 14 collodion printing-out-paper prints consisting of architectural views of Fort Jefferson, Florida, portraits of government employees at Fort Jefferson and Key West, a view of Bird Key and a group of dairy cows on Key West.

The Key West, Dry Tortugas album (10 x 12 cm) contains 14 collodion printing-out-paper prints consisting of two exterior and seven interior views of Fort Jefferson, Florida, two group portraits of the "Commandant" with his brother and wife, a view of "Bird Key, near K[ey] W[est]", a group portrait of 25 men posed outdoors with the caption: "Govt. employees at Key West, Florida. All except 11 died, yellow fever, 1899.", and a picture of cows on a street captioned: "A walking dairy at Key West; the manner in which milk is delivered." Two photographs in mounts are labeled: "Burgert Bros., Key West, Florida.

The album has a half-cloth cover with floral cloth boards and the title "Photogs" imprinted in silver. Housed in a gray box.

The King's Own Borderers photograph album is a 54 page, 23.4 x 15.5 cm embossed leather bound album containing portrait photographs of individuals and groups associated with the Stoney family and the British army's 25th Regiment of Foot known as The King's Own Borderers. The images are cartes de visite, with some larger albumen prints and tintypes interspersed. The album contains a wide variety of other visual materials including photographic prints of artwork, pen and ink drawings, calligraphy, newspaper clippings, printed cartoons, and greeting cards. The cover of the album is inscribed "G. Ormond Stoney/King's Own Borderers/5th July 1864." The album appears to have evolved over time in several different stages.

The King's Own Borderers photograph album is a 54 page, 23.4 x 15.5 cm embossed leather bound album containing portrait photographs of individuals and groups associated with the Stoney family and the British Army's 25th Regiment of Foot known as The King's Own Borderers. The images are largely cartes de visite, with albumen prints and tintypes interspersed. The cover of the album is inscribed "G. Ormond Stoney/King's Own Borderers/5th July 1864." The album contains a wide variety of other visual materials including photographic prints of artwork, pen and ink drawings, calligraphy, newspaper clippings, printed cartoons, and greeting cards. The album appears to have had at least three different stages of construction. The first as a traditional 1860s carte de visite photograph album kept by its namesake G. Ormond Stoney (hereafter referred to as Ormond) comprised of photographs of family members interspersed with related newspaper clippings.

The album appears to have been revised with significant additions in the 1870s-1880s, including more photographs of family members as well as commercial photographic prints. The majority of those represented were army officers, with Anglican priests and politicians; many being contemporaries and associates of Ormond's father, George Butler Stoney (1819-1899). Clipped autographs of many are included beneath the photos and appear to be from correspondence to George Butler Stoney.

Various clues to point to Ormond Stoney's sister Jane (Janie) Stoney Smith as a contributor to the album. Not only is she frequently represented in the album, but the album has several pictures of her husband Arthur Smith and his family--many more so than any other family that married into the Stoney family. Arthur and Janie married on September 19, 1867--the same date on the autograph posted under Arthur's picture. Arthur died in 1870 leaving Janie a pregnant widow with a young son, Herbert (see p.24 for his portrait), and an even younger daughter, Ethel Maud. Newspaper clippings around the portrait of Arthur on p.13 mention his death as well as the birth of Herbert and Ethel, though not of Florence, the youngest daughter. Although Jane's two daughters are not represented in the album, on page 44 it appears that at one point a photograph of both of her daughters was extant.

While Jane's younger sister Wilhelmina married Colin McKenzie Smith, another son of William Smith, she did not do so until 1889. The focus on Janie's husband Arthur and their children, suggests Jane rather than Wilhelmina as a significant contributor to the album.

George Ormond's wife Meylia has not been identified in the album and may not be present, however, her father, Sinclair Laing is represented. Laing appears to have been a correspondent with George Butler Stoney.

At some later date, likely in the late 19th century, decorative gold painted borders were added, along with chromolithograph stickers, known as "scraps." These include a series illustrating Robinson Crusoe. Unlike the earlier additions which point to Janie Smith, these later additions might have been the work of a child playing with what would have been a 30 year old album. The gold paint overlapping earlier items (see p. 28 for example) suggests a later date, as do the "scraps" made popular after 1880. The seemingly random nature of the placement of the "scraps" is quite the opposite of the carefully placed and planned addition probably done by Janie Smith.

Of the children represented in the album, three of them would be killed in World War One: Thomas Ramsay Stoney (1882-1918), George Butler Stoney (1877-1915), and Herbert Stoney Smith (1868-1915).

• Two group portraits of young men in military uniform, presumably with George Ormond present in both photographs (p.2, and back inside cover).
• A portrait of a dog that if viewed from another angle appears to be an individual with a disfigured face (p.7).
• A commercial carte de visite of a Zulu warrior identified as King Cetewayo (likely incorrect, the chief of the Matabele) (p.41).
• A portrait of Napoleon, Prince Imperial, in his military uniform ca. 1879 before he died in the service of the British Army during the Anglo-Zulu War (p.40).
• A print of Rosturk Castle in County Mayo, Ireland (p.47).
• A retouched portrait of a dog posed with a military hat, cane and pipe. (p.23).
• An 1873 program for an "evening reading" of two different farces, "Little Toddlekins," and "The Dead Shot," done to raise money for Mrs. Palmer, the retiring battalion nurse (p.53). On the outside of the program is a print of Portland House, a manor owned by members of the Stoney family.

The Ladd family carte-de-visite album contains carte-de-visite and tintype portraits of members of the Ladd and White families, as well as other individuals. The volume belonged to a woman named Annis.

The Ladd family carte-de-visite album (14cm x 12cm) contains formal studio portraits of members of the Ladd and White families, as well as other individuals. The photographs are comprised of 30 cartes-de-visite and 6 tintypes. An index to the photographs is partially filled out, though some items may not remain in their original positions or may have been removed. The volume contains pictures of men, women, and children, sometimes photographed in pairs; one child is shown sitting in a baby carriage. Some items have the photographer's name and studio location printed on the back; many were taken in Sterling, Illinois, and various towns in Michigan. The volume's brown cover has a raised geometric design, and the book has one metal clasp.

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.

Levy & Cohen's views of the rebel capital and its environs contains 26 photographs of historically significant monuments, locations, and structures in Richmond, Virginia, in 1865 after the conclusion of the Civil War.

Levy & Cohen's views of the rebel capital and its environs contains 26 photographs of historically significant monuments, locations, and structures in Richmond, Virginia, in 1865 after the conclusion of the Civil War.

Most images include typewritten titles and copyright statements as well as captions on their versos which outline the subject's historical significance and relation to the Civil War. Some photographs show duplicate views and/or have repetition of content in their verso descriptions. There is one photograph that measures 17 x 14 cm, ten that measure 13.5 x 19 cm, while the remaining fifteen photos are of standard carte de visite size.

Specific monuments that are represented in this collection include the Tomb of James Monroe in Hollywood Cemetery and Thomas Crawford’s Virginia Washington Monument shown prior to its completion. Specific structures represented include the Virginia Executive Mansion, ruins of Richmond Arsenal (Virginia Manufactory of Arms), ruins of Gallego Flour Mills, Treasury building (Lewis F. Powell Jr. United States Courthouse), Virginia State Capitol building, Virginia State Penitentiary, and Chimborazo Hospital. Other images show scenes of a burnt district, Capitol Square, a shipyard, Drury’s Bluff, Rocket’s Landing, James River, and what remains of Petersburg Railroad Bridge. One particularly noteworthy image is titled “Portico of Executive Mansion,” which shows Governor Francis Harrison Pierpont “in company with Messrs. W. W. Weng, Treasurer of Virginia, W. D. Massey, P. M. of Alexandria, Va., and Colonel Hart of the Governor’s staff." Another image shows Union soldiers outside of their tents with a handwritten notation on the verso stating “Headquarters of First Penna Reserve Artillery, Lt. Col. Brady, Richmond Va. June 1865.”

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 Log of the Wiheda photograph album contains six pages of typescript narrative followed by 31 numbered photographs that together describe a six-day journey by motor-boat from Coopersville, New York, to Sorel, Quebec, by way of Lake Champlain, the Richelieu, and Saint Lawrence Rivers in August, 1908.

The Log of the Wiheda photograph album (15 x 19 cm) contains six pages of typescript narrative referring to 31 numbered photographs that follow, one to a page. The album describes a six-day journey by motor-boat from Coopersville, New York, to Sorel, Quebec, by way of Lake Champlain, the Richelieu, and Saint Lawrence Rivers in August, 1908. The photographs appear to have been taken by David P. Harris, "First Officer and part owner;" the narrative was written by William N. Harris, "Tenderfoot and scribe." Also on the trip were William H. Robinson, "Master and part owner;" Merritt M. Harrus, "Pedagogue and chief cook;" Fred Rainey, "Collegian and bottle washer;" and George Anderson, "Motor expert and utility man."

The photographs show views of the waterways, buildings, and people encountered on the trip. Views of Fort Lennox in Quebec, a shoe factory, and the town of Sorel are featured, also a few views of the Wiheda en route.

The album has a tan, embossed cover with braided string binding.

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 MacMillan Arctic Expedition photograph album contains approximately 160 photographs related to the Arctic Expedition to Greenland in the summer of 1925 led by Donald Baxter MacMillan aboard the ships Peary and Bowdoin.

The MacMillan Arctic Expedition photograph album contains approximately 160 photographs related to the Arctic Expedition to Greenland in the summer of 1925 led by Donald Baxter MacMillan aboard the ships Peary and Bowdoin. The photographs were removed from the journal of Chief Boatswain Earl E. Reber, an expedition pilot, and stored in plastic sheets in a green three-ring binder (30 x 30 cm). Images of interest include scenes from the departure out of Boston, Massachusetts; a stop at Labrador; many views of native peoples and landscapes of Greenland; and shipboard photographs including individual and group crew portraits, crew members playing pirate, and a view of the captain's table with officers and servants. Landscape views include rocky shorelines, glaciers, drift and pack ice, icebergs, and aerial photographs of Etah harbor, the Greenland ice cap, and Ellesmere Island. Crew members are shown in various images interacting with native Greenlanders onboard ships, showing a group of children how to use a camera, and visting a native Greenlander residence. Additional images include views of an Inuit summer hut and permanent shelter, sled dogs, and natives kayaking and cleaning a walrus carcass; the unloading and assembly of the Loenig amphibious aircraft; and waterfront views of Battle Harbor, Labrador, and of Gotthaab, Godhavn, and Umanak, Greenland.

Expedition members identified by typewritten captions include: Floyd Benney, Richard Byrd, Leo Max Davidoff, Albert Francis, Jacob Gayer, John La Gorce, Donald MacMillan, E. F. McDonald, A. C. Nold, W. D. Publicover, Earl E. Reber, Charles Rocheville, M. A. Schur, Nels Sorensen, and G. F. Steele.

The Massachusetts and Rhode Island vacation photograph album contains 28 snapshot photographs taken along the coastal regions of Massachusetts and Rhode Island ca. 1905.

The Massachusetts and Rhode Island vacation photograph album contains 28 snapshot photographs taken along the coastal regions of Massachusetts and Rhode Island ca. 1905. A majority of these images show Martha's Vineyard and Newport, Rhode Island. Many of these images show scenes of tourist destinations. Notable destinations include Paul Revere's House, the Thoreau-Alcott House, The Breakers, Touro Synagogue Cemetery, and the Marine Hospital of Vineyard Haven. Also shown are views of beaches and people in swimwear.

The album is 18.5 x 14.5 cm with dark brown cloth covers.

This photograph album contains formal portraits of men and women, many of which were taken in Massachusetts around the late 19th century.

The Massachusetts family album (15cm x 12cm) has 39 carte-de-visite and 3 tintype portraits of men and women. The photographs are formal studio portraits attributed to photographers in locations such as Boston, Massachusetts; Salem, Massachusetts; and Romeo, Michigan. Many of the photographs depict young men or women, and one photograph shows a couple. The tintypes have some hand-coloring. The album has a decorative red and black stamped leather cover with a metal clasp.

The Meadville (Pa.) and Scandia (Kan.) photograph album contains cabinet cards, cartes-de-visite, and other photographs of men, women, and children taken in Meadville, Pennsylvania, and Scandia, Kansas, in the late 19th century. Pictures of the National Monument to the Forefathers and a grave marker are included, as is a remembrance card for Nancy Anderson.

The Meadville (Pa.) and Scandia (Kan.) photograph album (27cm x 22cm) contains 38 items, including 26 cabinet cards, 8 cartes-de-visite, 1 tintype, and 3 additional photographic prints. The volume's purple-padded covers are bound in cloth, and it has a large metal clasp. A metallic plate shaped as the word "Album" was once affixed to the front cover and is now laid into the volume.

Most of the photographs are studio portraits of individual men, women, and children taken in Meadville, Pennsylvania, and Scandia, Kansas, in the late 19th century; the children pictured are infants and toddlers. Occasionally, the subjects are shown with a drum, a book, a dog, and one man posed on the sill of an artificial window. Two items laid into the volume are outdoor portraits of adults standing in front of a house, with a windmill visible to the side. A piece of tissue paper affixed to one of the cabinet cards has printed line drawings of a girl's face and flowers. The remaining items are a photograph of the National Monument to the Forefathers in Plymouth, Massachusetts; a photograph of a headstone for members of the Smock family; and a black card dedicated to the remembrance of Nancy Anderson (1818-1889), with a brief poem and other details printed in gold.

The Michigan School photograph album contains studio portraits of unidentified men, women, and children taken mostly in Central and Southeast Michigan in the late 19th century, as well as two pictures of school buildings, at least one of which is from the campus of Michigan Agricultural College. The album contents are possibly a mixture of students and professors of M.A.C. plus family and friends of the unknown compiler.

The Michigan School photograph album (27cm x 21cm) contains 54 studio portraits of unidentified men, women, and children taken in Michigan cities such as Albion, Ann Arbor, Jackson, and Lansing in the late 19th century. The photographs are comprised of 40 cabinet cards and similarly sized card photographs, 11 cartes-de-visite, and 3 tintypes. Four pages from a different album (containing seven photographs) are laid into the volume, as is a photograph of an infant. Most of the images are individual portraits of adult men and women. Two images by a Lansing Michigan photographer are of school buildings, one identified as Michigan Agricultural College. A floral design is printed directly onto each page, and one cabinet card is designed to look as though the print is peeling off of the mount. A pink ribbon with the letters "Q," "L," and "S" attached to it is laid into the album. The volume's padded covers are wrapped in red cloth with a floral design imprinted on the front. A hard surface with the title "Album" is attached to the front cover.

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 Mildred Drury photograph album contains 175 photographs of young men and women taken while traveling throughout Europe and the United States ca. 1910.

The Mildred Drury photograph album contains 175 photographs of young men and women taken while traveling throughout Europe and the United States ca. 1910. The images consist primarily of informal snapshots of family, friends, and travel. There are no captions or notations beyond an inscription on the front inside cover which reads, "Mildred W Drury."

The first pages of the album include photographs taken in New York City. On a few of these pages, Columbia University's Low Memorial Library can be seen. On page 15, a woman sculpting a bust and a sculptor's studio are shown. The next few pages show various views from the grounds of Château de Versailles. In particular, Hameau de la Reine can be seen in the background on page 20. Also taken in France, photographs on pages 68 through 70 show views from the Eiffel Tower. On page 21 are photographs of Ely Cathedral. The next series of photographs were likely taken in the Netherlands. Images show canals, canal boats, towpaths, and traditional dress and architecture of the region. Following, are five pages of the Alps, traveling through the mountains, and hotels. Photographs on pages 48 through 52 were taken in Italy and show Amalfi, Amalfi Drive (Strada Statale 163), Piazza San Marco, gondolas, and women doing laundry. The last portion of the album includes photographs likely taken in the United States. These photographs show family gatherings, snowshoeing, golfing, and canoeing.

The album is 20.25 x 14.75 cm with green cloth covers.

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 Montana photographs are comprised of card photographs, loose pages from a photograph album, snapshots, and various photographic prints. The pictures show groups of men and women, scenes inside and around a mine and mining camps, landscapes, city views, and street scenes.

The Montana photographs (120 items) are comprised of 38 loose photographic prints, 7 card photographs, and 13 loose pages from a photograph album (with 75 photographs). One of the card photographs shows an illustration of the Montana State Capitol, designed by John H. Kent; a posed photo shows George W. Shaw demonstrating a piece from a sewing machine (Philadelphia, 1876), and two mounted images show his booths promoting Shaw's pancake flour at the Montana State Fairs of 1900 and 1901. The unmounted prints, which include cyanotypes and Kodak snapshots, are pictures of mountainous landscapes, tent and log cabin camps, and men at work. Two group portraits are present, as are pictures of a mining camp in Arizona and the interior of a bedroom. The album pages contain informal portraits of members of the Daniels and Powers families, street scenes from Butte taken during a large conflagration, and several of a mining operation. Of note are images of mine workers inside the mine, mine-related buildings, underground railroad tracks, and an electric hoist. A large group photo shows men gathered around a table in a rough-shod office studying documents or maps. Automobiles are visible in some of the images. Many of the album photographs have captions written directly on them in pencil. Interior and exterior views of offices and homes.

The M. W. I. European Tour photograph albums contain commercial prints and lithographs from the compiler's trip to several European countries in the summer and fall of 1871. The photographs show landscapes and scenery, secular and religious buildings, European royals and nobility, and statues and paintings.

The two M. W. I. European Tour photograph albums contain commercial prints and lithographs from the compiler's trip to several European countries in the summer and fall of 1871. Each of the 28cm x 22cm volumes has a red pebbled cover with the title "M. W. I. 1871" stamped in gold on the front. Volume 1 contains around 175 items, including three loose albumen prints, and Volume 2 contains around 140 items. Smaller photographs and lithographs are mounted as many as five to a page and larger items are only slightly smaller than the albums' pages.

The first book primarily contains pictures from England, Scotland, and France, and the second has images from France, Switzerland, Italy, and Germany. Many of the pictures from England and Scotland show royal residences, cathedrals, and other landmarks, such as the houses of Parliament and the Crystal Palace. Natural scenes from Lochs Lomond and Katrine are also present, as are views of Edinburgh and Holywood Palace. Photographs from Continental Europe show similar scenes of religious buildings, monuments, and landscapes, particularly in the Alps. A few lithographs from Versailles pertain to the execution of Georges Darboy in May 1871, and others from Strasbourg show destruction after the Franco-Prussian War. Each album has portraits of royal families and prominent individuals from countries such as England, France, Germany, and Spain. Leonardo Da Vinci's Last Supper is shown in one item, and the second album has several lithographs of religious and secular paintings by Raphael and other artists, as well as photographs of artistic statues. Included is a ticket for a passion play performed in Oberammergau, Germany.

The New Bedford photograph albums consist of 155 cyanotype photographs contained in two albums that show scenes from New Bedford, Massachusetts and surrounding areas during the 1890s.

The New Bedford photograph albums consist of 155 cyanotype photographs contained in two albums that show scenes from New Bedford, Massachusetts and surrounding areas during the 1890s.

Volume 1 (18 x 25.5 cm) has a pebbled red leather cover and contains 101 cyanotypes, while Volume 2 (18.5 x 23.5) has a beige cloth cover with "Kodak Views" embroidered on the front and contains 54 cyanotypes. Both volumes are in fair condition. Together, these albums provide a wide-ranging, informal, town-and-country portrait of New Bedford in the last decade of the 19th-century. Most locations are unidentified, but they include city streets, commercial buildings, residential neighborhoods, churches, farms, woodland paths, Civil War fortifications, bridges, waterfront scenes, and views of the local shoreline. Also present are several bird's-eye views, two photographs of artwork, and pictures of ships of various kinds. Particular attention is given to the classic whaling vessels that still resided at New Bedford's harbor at the time these albums were produced. The booming textile industry of the time, on the other hand, is hardly represented: a solitary image shows a mill with a smokestack and workers’ housing. A few captions are included in Volume 2 as well as on the backs of some photographs, but for the most part the things and places pictured are not identified.

Although there is no official attribution to a photographer in either album, several of the exact same images appear in the souvenir booklet of the New Bedford Semi-Centennial and Industrial Exhibition (1897) and are credited to “R. R. Topham.” Robert R. Topham was a longtime New Bedford resident who at the time these albums were produced worked as a clerk in the city assessor's office.

The New Hampshire carte-de-visite album contains photographic portraits of unidentified individuals and lithographic portraits of prominent Union Army officers, and President and Mrs. Abraham Lincoln.

The New Hampshire carte-de-visite album (15cm x 12cm) contains 20 studio portraits of unidentified individuals and 8 lithographs of famous individuals. The photographs show men, women, children, and infants -- one, Louize M. Rollins [sic], is identified. The lithographs are portraits of Union officers Elmer Ellsworth (2 items), William Rosecrans, Samuel Francis Du Pont, Ulysses S. Grant, and George Meade, and of Abraham and Mary Todd Lincoln. The volume's brown leather cover has a geometric design in relief, with additional floral designs stamped in gold, and two metal clasps.

The New Hampshire snapshot photograph albums (14.5 x 18.5 cm) contain approximately 138 images in two volumes, showing landscapes, people at leisure, and interior views. Also included are images of buildings in Mont Vernon, New Hampshire.

The New Hampshire snapshot photograph albums (14.5 x 18.5 cm) contain a total of 138 images in two volumes.

Volume One includes views of a home, "Verncroft," landscapes, people mounted on horseback, and men working with hay. Many of the photographs are group shots of children. Of note are three photographs of a Mount Vernon Fire Department truck on pages 8, 9, and 17. Pages 22 and 23 focus on a summer baseball game. Page 36 depicts a man dressed in a graduation cap and gown.

Volume Two contains views of nature, building interiors, and street scenes, with a majority of photos taken in Mont Vernon, New Hampshire. One exception is the image on page 7 of the Lexington Minuteman statue in Lexington, Massachusetts. Pages 16-23 depict outdoor winter activities, including ice fishing and rides in a sleigh. Many town buildings and structures appear, including the town hall (page 70), the Appleton Academy-McCollom Institute (page 71), and the meeting house (pages 72-73). The water tower in Mont Vernon appears in many photos in both volumes.

The New Jersey and New York City Region photograph album (18.5 x 26 cm) contains 45 photographs of landmarks and city and countryside views of the New York City Region.

New Jersey and New York City Region photograph album (18.5 x 26 cm) contains 45 photographs of landmarks and city and countryside views of the New York City Region. Included are 8 views of the Palisade rock formations near Weehawken, New Jersey, one view including sculptor Karl Bitter's clifftop studio. Other nature views include the Delaware River, South River, Newark Bay, and Mountain Lakes, N.J. City views are mainly of Newark, N.J. streets and buildings, and New York City attractions including Herald Square, the Washington Arch, Trinity Church, Broadway and the Hippodrome. Additional photographs show the boardwalk at Ocean Grove, and pavilion at Asbury Park on the Jersey Shore, an elevated streetcar at Bay Ridge, N.Y., battery at Fort Griswold, Ct., a train on the Lackawanna railroad bridge in East Orange, N.J., and interiors of the Essex County court room and Newark Public Library in Newark, N.J. Photographs include typed captions; paper label inside front album cover: F.H. Tucker, Artistic and Commercial Photographer.

The album has alligator-print cloth covers. Stored in a three-part wrapper with green cloth spine.

The New York and Michigan carte-de-visite album contains photographic portraits of unidentified men, women, and children taken mostly in New York State in the mid- to late 19th century.

The New York and Michigan carte-de-visite album (16cm x 12cm) contains portraits of unidentified men, women, and children taken in New York, Michigan, and Wisconsin in the mid- to late 19th century. The photographs are comprised of 16 cartes-de-visite, 10 tintypes, and 1 small albumen print. Some items have photographers' names printed on the back; one is attributed to "Mr. and Mrs. M. Brown." The pictures include headshots and full-body length portraits of subjects sitting or standing. The album's brown cover has a tooled geometric design, and it has two metal clasps, also with ornate designs. The title "Album" is stamped on the spine in gold.

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 Oklahoma Homesteader's photograph album contains pictures of ranch or homestead buildings, cowboys, and Native Americans in an unidentified prairie region in the late 19th century. Some of the Native Americans posed with guns and white soldiers, and one group wore military uniforms. Two items are photographs of watercolor paintings.

The Oklahoma Homesteader's photograph album (36cm x 29cm) contains 49 prints showing pictures of buildings, scenery, cowboys, women, Native Americans, and watercolor paintings. Sixteen images are exterior views of a ranch home and outbuildings in a flat, grassy area with few trees. Two men in wide-brimmed hats are sometimes visible, including one driving a two-wheel horse-drawn carriage. Nine photographs are interior views of the residence showing a wallpapered living room or office, a paneled bedroom, dining area, and kitchen.

Of particular note are the interior views that show hats, bridles, lassos, and rifles mounted on the walls in combination with full bookshelves, framed art and photographs, and decoratively arranged wheat stalks. A large framed print or painting of a cow is featured over the mantelpiece along with small cabinet photographs, feathers, and artifacts; the beds are covered with Native American blankets and carefully arranged newspapers; books, papers, and a book-press are visible. Also of note are views of the rustic kitchen with coffee advertising signs and genre prints displayed. One view shows a dinner table set for seven, while another shows a bearded man cooking over an iron woodstove. Two pictures show a pair of women posed outside of the house with a dog. Two images are exterior views of a property with a larger wood frame house that appears to have been recently constructed.

A group of 14 pictures depicts cowboys roping cattle, performing farm work, pitching horseshoes, and relaxing alone or in groups. One photograph shows a group seated on a blanket, playing cards with guns drawn.

The album has six photographs featuring groups of Native Americans; a band of Native American men brandishing rifles appear posed with a white soldier in a uniform jacket; a mixed-gender group of Native Americans includes several men in military uniforms, women and children; a group of women and children in front of a tipi; a group of women and children with a child's wagon; three Native American men in military uniforms; and a large group with uniformed men on horseback, women, and children, taken at distance with tipis in the background. The final two pages have photographs of watercolor paintings of prairie scenes featuring small buildings. The album has a brown leather binding with a moire-patterned blue cloth cover, and a spine label "0013" from a previous unknown owner.

A wall calendar appearing in an interior view indicates June 2 falling on a Sunday, which occurred in 1889 and 1895.

"Our Generals" is a lithograph album (17 x 13.25 cm) consisting of 24 gray-toned lithograph carte de visite sized portraits of Union Civil War generals sold commercially by Leavitt & Allen of New York in 1862.

"Our Generals" is a lithograph album (17 x 13.25 cm) consisting of 24 gray-toned lithograph portraits of Union Civil War generals sold commercially by Leavitt & Allen of New York in 1862. The initials "A.W." appear in pencil on the inside front cover. There is a pre-printed index of names.

On each page, there is one lithographed carte de visite mounted into pre-cut slots surrounded by red and white decoration. The images themselves are either close ups or full body portraits. The name of the subject is handwritten in pencil under each image.

The album's covers are brown leather embossed with a floral pattern, with two large decorative brass clasps. The two brass closure tabs are stamped with "Our Generals."

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 Pan-American Exposition photograph album contains 33 photoprints taken by an amateur photographer of the 1901 Pan American Exposition in Buffalo, N.Y. Included are a nighttime view of the exposition; city views; candid photographs of children, images of houses, possibly in Ossining, N.Y.; and two images of Sing Sing Prison.

The Pan-American Exposition photograph album (14 x 18 cm) contains 33 photoprints taken by an amateur photographer of the 1901 Pan American Exposition in Buffalo, N.Y. Included are a nighttime view of the exposition; a city view featuring streetcars; candid photographs of children and images of houses, possibly in Ossining, N.Y.; and two images of Sing Sing Prison. One loose photo is identified as a church in Ossining, N.Y. Of note is an interior photograph of a bedroom dresser with many portrait photographs, and alarm clock, and hair brush displayed facing the last page of the album, which in turn features a portrait of a man with light colored eyes and a mustache.

The album has a gray cover with the printed title "Photographs" in white ink, and is housed in a pale blue cardboard box.

This photograph album contains pictures that P. C. Colony took while visiting Niagara Falls, Toronto, Montréal, and Québec City in the summer of 1897. Most of the pictures show street scenes, buildings, and scenery.

This album (23cm x 18cm) contains 71 photographs that P. C. Colony took while visiting Niagara Falls, Toronto, Montréal, and Québec City in mid-July 1897. The volume's cardstock pages were once bound. With the exception of three larger prints, the photographs (approximately 10cm x 11.5cm) are pasted two to a page. The first two items are labeled with lengthy manuscript captions, and the remaining items are identified by typed captions. The typed title "Toronto Trip, '97" is glued onto the front cover.

With the exception of the second item, a picture of P. C. Colony driving a plow pulled by two horses, the photographs show scenes from Colony's 1897 trip to Canada, where he attended the Third International Convention of the Epworth League in Toronto. Colony captured several images of a "bicycle sunrise prayer meeting" and a "firemen's exhibit," and one picture is titled "Toronto waif." He also took a series of pictures at a lacrosse game and two of a "Highland bagpipe band." The remaining photographs show street scenes and buildings such as churches (sometimes with interior views), a restaurant, a penitentiary in Kingston, and the Québec Parliament Building, as well as scenic views taken on or near water. The album has pictures of Niagara River rapids, the Lachine Rapids, Toronto Bay, a sailboat on Lake Ontario, a Canadian Pacific railroad bridge, Montmorency Falls, the American Falls, the Horseshoe Falls, and the Thousand Islands.

The Peekamoose Hunting Club photograph album (25 x 34 cm) contains 41 albumen prints of scenic views and individuals at the Peekamooe Hunting Club in the Catskill Mountains, New York.

The Peekamoose Hunting Club photograph album (25 x 34 cm) contains 41 albumen prints of scenic views and individuals at the Peekamooe Hunting Club in the Catskill Mountains, New York. Views include the hunting lodge in winter, waterfalls, mountain scenery, and club members and families. Men, women and children are shown canoeing, fishing, reading, and eating on the lodge veranda. Photographic portraits of 5 club members include John Rogers Hegeman, president of Metropolitan Insurance Company, and a man posing with a falcon perched on his hand. Additional photographs show outdoor excursions in the Badlands, Rocky Mountains, Gulf of Mexico, Florida and the Miramichi River (New Brunswick). Affixed to inside back cover is a photograph of a pencil drawing of a man riding a galloping horse with caption "All farewells should be sudden," Indian [T?]y, 1873.

The album has black cloth boards and is partially disbound. Lacking front cover. Stored in an upright gray Hollinger box.

This volume is a published collection of photographic prints of battlegrounds, ruins, works, and other scenes from the America Civil War in Tennessee, Georgia, and South Carolina. The photographs were taken between the spring of 1864 and the spring of 1866. Along with the published photographs of Mathew Brady, and Alexander Gardner's Photographic sketchbook, Barnard's Views of Sherman's campaign is one of the main photographic monuments of the Civil War, containing some of the most famous images of the war's destruction.

Photographic Views of the Sherman Campaign (41cm x 51cm) is a collection of 57 photographic prints published in New York by Wynkoop & Hallenbeck in 1866. An abbreviated title is stamped in gold on the album's brown leather cover and the full title is printed on the first page. Clements Library's copy is imperfect: four plates lacking; one missing plate, acquired separately, is shelved at: Photo Div F.20.1. Inscriptions indicate that this copy was presented by Edward Hoffmire to John M. Hoffmire, his brother, in 1868, and John M. Hoffmire later gave it to his daughter Emma on April 15, 1916.

Each print is labeled with the location of the photograph, often including the names of natural and manmade landmarks. Some areas are represented in multiple images, though each item provides a unique view of landscapes and urbanized areas in Tennessee, Georgia, and South Carolina. Many show evidence of military activity, including soldiers, tents and camps, earthworks and trenches, blasted trees, destroyed railroads and buildings. One item is a group portrait of William Tecumseh Sherman and seven other Union generals. See the list of photographs in Additional Descriptive Data for more information about specific locales pictured.