Collections

The Chilocco Indian School collection consists of 1 piece of realia, 1 school yearbook, 1 pamphlet, 1 manuscript, 1 graduation certificate, and 107 photographic images in various formats related to the Chilocco Indian School in northern Oklahoma.

The Chilocco Indian School collection consists of 1 piece of realia, 1 school yearbook, 1 pamphlet, 1 manuscript, 1 graduation certificate, and 107 photographic images in various formats related to the Chilocco Indian School in northern Oklahoma. Many of the images are portraits of individuals, structures, and activities associated with the Chilocco Indian School; most are individual and group portraits of Native Americans, but there are also several images showing school buildings, agricultural activities, sports teams, and white American adults and children. The majority of the images are real photo postcards from the 1910s.

A total of 16 tintypes (mostly 8 x 5 cm) are present in the collection. Included are studio portraits of Native American men, women, boys, and girls wearing western clothing. Many of the tintypes have been moderately hand-colored. None of the subjects nor their tribal affiliations have been identified.

Also present are 18 photographic prints (6 unmounted and 12 mounted). The 6 unmounted prints are all 11 x 6.5 cm snapshots taken in 1920 that appear to have been taken by tourists and were once stored in a photograph album. Inscribed captions include the following: "Gold Fish Pond Chilocco OK 1920"; "Three Indian Boys"; "View of the lake at Chilocco"; "Little Girls Dormitory at Chilocco Government School 1920"; "Dairy at Chilocco"; "Chilocco OK Indian School Stadium 1920." Of the mounted photographs, there are 10 of approximately the same size (8.5 x 6.5 cm; all albumen prints) that show individual and group studio portraits of Native American men, women, boys, and girls. The remaining two mounted photographs (12.5 x 8.5 cm and 10.5 x 6.5 cm respectively; both albumen prints) are studio portraits of a very young Native American girl and a Native American boy with his mother which bears the verso inscription "T. Wolf." None of the subjects nor their tribal affiliations have been identified.

Real photo and photomechanical postcards (mostly 14 x 8.5 cm) make up the remaining 73 photographic images in this collection. Most images consist of individual and group portraits of Native American and white people, the latter of which many appear to have been affiliated with various Indian Agencies and/or boarding schools.

Items of particular interest include an image of a young Native American boy captioned "Jim McKay's kid"; a studio portrait of an unidentified Native American man by George B. Cornish; a studio portrait of a man possibly identified as "Red Fox" through an inscription on the verso; a studio group portrait of an unidentified married Native American couple captioned "New Year Eve. 08-09" in which the photographer appears to have edited the negative by painting fake snowflakes on the subjects; a group portrait of Umatilla Agency superintendent E. L. Swartzlander's children Lawrence and Inez; views of Chilocco Indian School buildings such as Haworth Hall, Home One, the Printing Department, and the inside of a classroom; and three photographs showing young men dressed in World War I-era army uniforms.

Sports-related images include group portraits of the 1912-13 Chilocco men's basketball team, the 1906 and 1915 Chilocco women's basketball teams, the 1945-46 Chilocco men's football team, and a Chilocco men's baseball team from an unknown year.

A relatively small number of postcards have been signed. Of the postcards that have signatories, there are eight signed by Samson B. Harjo (Seminole; name also spelled "Sampson B. Harjo"); one signed by "John Wolf" (tribal affiliation unknown); one signed by "Silas Beal Brown"; three signed by Chief Tishomingo's grandson Joe F. Factor (Chickasaw); and five signed by Umatilla Agency clerk Alvin Barbour.

The Alvin Barbour postcards (6 in total) are the only postcards in the collection that contain correspondence. Writing from Pendleton, Oregon, Barbour was in communication with a girl at the Chilocco Indian School named "Anna" of unknown tribal background who appears to have come from the Umatilla Agency. In one postcard with a view of a school building dated March 4 1914, Barbour expresses delight that Anna was "pleased with the pennant" he sent her and that he hopes it will "remind you of home and of the sender." In another postcard bearing an outdoor portrait of Barbour dated April 18 1914, Barbour states that he is glad Anna has recovered from an illness and that he sent her some Easter lilies. Two postcards dated April 27 1914 show images of Barbour and a Native American girl from the Umatilla Agency identified as "Ruth" taking turns sitting on a fallen tree trunk. Two postcards do not bear any correspondence and include an outdoor portrait of Barbour (signed "Yours very truly, Alvin Barbour") and an unsigned outdoor group portrait of Barbour with two other men posing on a bridge.

The realia item is a double-handled silver basketball trophy (10 x 15 x 6 cm) bearing the engravings "Chilocco Basket Ball League 08" and "Bird's Head - Escudero - Du Bois - Taylor - Jones." The trophy was awarded to "Team Jones" in 1908 after they won all four of their matches in their five-team intramural league. "Bird's Head" may possibly be Jesse Bird's Head, while "Escudero" may possibly be Cipriano Escudero (approximately 1882-?).

Printed publications include a 1932 Chilocco Indian School senior class yearbook as well as an illustrated libretto and associated program from a 1907 Chilocco Indian School production of Hiawatha. The front cover of the libretto bears the inscription "Lulu Gregory, Tonkawa, Okla."

The manuscript item consists of a three-page handwritten document regarding the "Crimson" flag of an unidentified University Preparatory School (possibly the Tonkawa U.P.S.) and its importance being "similar to that of the Stars & Stripes to the United States." The document is unsigned and undated.

Also present is a graduation certificate (51 x 40.5 cm) granted by the Chilocco Indian School in 1897 to Myrtle M. Long (tribal affiliation uncertain). The diploma was signed by Superintendent Benjamin F. Taylor, principal teacher Philena Everett Johnson, and teacher Anna D. Burr.

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.

This journal contains Clarence G. Nicholson's recollections about his trip from Philadelphia, Pennsylvania, to Milwaukee, Wisconsin, and Chicago, Illinois, in September 1893. Nicholson described his daily activities during the journey west, in Milwaukee, and at the World's Columbian Exposition. The volume contains numerous commercial photographs, advertisements, and other items related to Nicholson's travels.

This journal (32cm x 27cm, 433 pages) contains Clarence G. Nicholson's recollections about his trip from Philadelphia, Pennsylvania, to Milwaukee, Wisconsin, and Chicago, Illinois, in September 1893. The narrative was written in 1894. Nicholson described his daily activities during the journey west, in Milwaukee, and at the World's Columbian Exposition. The volume contains numerous commercial photographs, advertisements, and other items related to Nicholson's travels. Nicholson's manuscript travel narrative occupies around 328 pages with ephemeral items pasted in. He wrote at length about the scenery during his railroad trip, often mentioning meals and accommodations. This first part of the volume includes watercolors, photographs, clippings, and advertisements depicting Pennsylvania scenery. While in Milwaukee, Nicholson and the other travelers visited breweries, art galleries, and other points of interest; he also wrote about the differences between the Midwest and the East Coast and about the city's artistic culture. Accompanying visual materials show Milwaukee buildings, examples of local beer bottles, and works of art. On September 23 or 24, the party split, with Nicholson and his father heading for Chicago, where they spent the next week.

Nicholson's recollections of his experiences at the World's Columbian Exposition comprise the bulk of the text, accompanied by a variety of illustrations. He describes in detail numerous state, international, and thematic buildings; exhibit halls and displays; sights along the Midway Plaisance; and the fairgrounds. He and his father also visited other areas of Chicago. Clippings, advertisements, and other ephemeral items are included throughout the volume, including numerous commercial photographs and illustrated views of the World's Columbian Exposition. Other items include exposition admission tickets, a menu, and a group of synthetic cords. Visual materials show the interiors and exteriors of large exhibit halls, state and international buildings, the Peristyle, the Ferris Wheel, and exhibits along the Midway Plaisance; a few photographs and prints show the grounds illuminated at night. The final pages of the journal contain Nicholson's thoughts upon leaving the exposition for the final time and a brief description of his return trip to Philadelphia.

The Clarke family photograph album contains photographic prints taken during trips to New England, New York, and other locales from 1898-1902. The photographs show natural scenery, buildings of interest, soldiers, and family members.

The Clarke family photograph album (25cm x 32cm) contains 240 photographic prints, including cyanotypes, taken during trips to New England, New York, and other locales from 1898-1902. Of the prints, 232 are pasted onto the album's pages (usually four to a page) and eight are laid in; each mounted photograph has a caption, sometimes humorous. The title "Photographs" is stamped in gold on the album's brown leather cover.

The photographs depict buildings, street scenes, and natural scenery in places such as Marshfield, Vermont; Weirs, New Hampshire; Halifax, Nova Scotia; Lynn, Massachusetts; Catskill, New York; and Washington, D.C. The compiler noted places of interest in the family's history, such as Erastus Burnham's grave and the Burnham family farm in Marshfield, Vermont. Some interior views of private residences and schoolhouses are included, as are photographs of prominent locations such as the Vermont State House, the United States Capitol, Independence Hall, the Lee family home in Arlington, Virginia, "Rip Van Winkle's house," and the New York City skyline. Sailing ships, the paddlewheel steamer Mount Washington, and the battleships Indiana and Massachusetts are also pictured.

The photographer attended parades featuring elephants from the Forepaugh-Sells Brothers' Circus, celebrating the 50th anniversary of Lynn, Massachusetts, and the welcoming of United States soldiers as they returned from Cuba after the Spanish-American war. Group portraits include men, women and young schoolchildren. Women are shown riding bicycles, playing the piano, and wearing costumes such as a soldier's jacket and a puritan's dress. One picture, entitled "Dr. Jekyll and Mr. Hyde," is a double exposure of a woman in different poses.

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."

This photograph album contains 19th-century carte-de-visite, photomechanical print, and tintype portraits of residents of Kent and Oakland Counties, Michigan.

This photograph album (14cm x 11cm) contains 18 cartes-de-visite, 4 halftone photomechanical prints, and 2 tintypes, which are portraits of residents of Kent and Oakland Counties, Michigan, taken during the 19th century. Most of the items are studio portraits of men, women, children, and infants. The halftone photomechanical prints are montages, including one portrait of a woman placed behind a drawn window. A number of the subjects are identified. A decorative design is embossed on the album's brown leather cover, and the title "Album" is stamped in gold on its spine; the volume also has a metal clasp.

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 Cornwell family carte-de-visite album contains studio portraits of members of the Cornwell, Otis, and Harroun families, who were related by marriage. Members of the various families lived in Minnesota and New York in the late 19th century.

The Cornwell family carte-de-visite album (13cm x 10cm) contains 46 formal studio portraits of members of the Cornwell, Otis, and Harroun families, including 40 cartes-de-visite, 6 tintypes, plus 2 lithographs. Most portraits are of young adults and grown men and women, though pictures of younger children and an infant are also present. One picture shows a woman holding an open book, and another shows a group of women knitting. The lithographs depict a woman tucking a child into bed while thinking of a soldier and Mary with the infant Jesus. The volume's red leather cover has a tooled geometric design and a floral design is carved into the sides of its pages.

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 Cross-Country photograph album contains photographs taken in various locations throughout the United States, including travel photographs of scenery and buildings in Washington, Colorado, Louisiana, and Massachusetts, among other states, and family photographs taken in New Hampshire, Massachusetts, and elsewhere.

The Cross-Country photograph album (26cm x 32cm, 59 pages) contains around 340 photographs taken throughout the United States between 1896 and 1907, including 15 cyanotypes and 10 panoramas. The items represent numerous printing processes in a variety of sizes. Some have captions, often providing information about the place and the date. Several reference the Gill family. The album has the title "Photographs" printed in gold on its front cover and its pages are bound with a thick string.

Many of the photographs are casual group portraits of men, women, children, and family dogs taken outdoors, often in front of large houses and cottages; some of the same individuals are present in multiple pictures. Included are a portrait of an African American woman holding a Caucasian infant (p. 1), two young boys in dress military uniforms with a collection of toy soldiers (p. 3), and a wedding party (p. 46). Some men and women are pictured golfing at Bass Rocks in Gloucester, Massachusetts. Most of the remaining images are views of landscapes, city streets, buildings, and natural scenery in locations such as Spokane, Washington; Tacoma, Washington; Lake Coeur d'Alene, Idaho; Pikes Peak, Colorado; New Orleans, Louisiana; Hampton, New Hampshire; Boston, Massachusetts; Gloucester, Massachusetts; Beacon Falls, Connecticut; and Washington, D.C. Included are a small number of commercial photographs of the area around Pikes Peak in Colorado including views by William H. Jackson. City views often feature prominent buildings and other landmarks. Other photographs show the rocky coast of New England, harbors, sailing vessels of various sizes, and large homes. Of note are a group portrait of Spokane Native Americans (p.14); views of the Tacoma waterfront (p.15); the New England coast, with aspects of the Gloucester fishing industry including a view of salted cod laid out to dry (p.24-29); pictures of Victorian home interiors (p. 20, 34, 47, 55, 56); and panoramic landscape views taken near Spokane (p. 47, 48). The album includes one print and a hand-colored collotype of the home of Senator George Turner in Spokane, Washington (inside front cover).

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

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

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

The collection contains 41 photographs of the British born actor, Owen Fawcett (1838-1904) and his family. It includes formal portraits of Owen Fawcett at various ages, as well as portraits of Mr. Fawcett in costume, some with other actors. The collection also contains formal portraits of families and children, most of which are photographs of Owen Fawcett's grandchildren; also included is a photograph of the Charles E. Hunter family given to Fawcett in 1894.

The collection contains 41 photographs of the British born actor, Owen Fawcett (1838-1904) and his family. It includes formal portraits of Owen Fawcett at various ages, as well as portraits of Fawcett in costume. The collection contains formal portraits of families and children, most of which are photographs of Owen Fawcett's grandchildren; also included is a photograph of the Charles E. Hunter family given to Fawcett in 1894. A loose bookplate of Fawcett's is also present in the collection.

• Two autographed portraits of Fawcett. (1, 2)
• Owen Fawcett, his wife, daughter, and grandchild in their backyard. (13)
• A late 19th century cabinet card enlargement of an earlier portrait of an unidentified young man (a member of the Fawcett family?); this portrait is housed in its original paper-wrapper. (16)
• Two portraits of Fawcett in costume as Colley Cibber. (26, 27)
• Three 1903 portraits of Fawcett in costume as Darby Keegan in the play Robert Emmett. This was Fawcett's last performing role before his retirement. (39-41)

The Dayton Soldiers' Orphan School carte-de-visite album contains carte-de-visite and tintype portraits of children and adults associated with the Dayton Pennsylvania school, taken in the mid-1860s and early 1870s.

The Dayton Soldiers' Orphan School carte-de-visite album (15cm x 12cm) contains 34 carte-de-visite and 12 tintype portraits of children and adults taken from the mid-1860s to early 1870s. Six of the tintypes are mounted directly in the volume, and six are laid in. One of the tintypes has a thin stamped decorative metal frame. The photographs are formal studio portraits of boys, girls, and adults, photographed individually and in groups. Many of the photographs were taken by Dayton photographers, Hanna Glenn, E. Grinder, J.S. McIntire, and H. Pound. Some of the boys are shown wearing military jackets and caps, and a few items are hand-colored. The album's front cover, made of brown leather, has two roses in relief with green-painted stems and flowers made of a soft fabric. The volume's clasp is a metal ring.

The Delta, Colorado photograph album contains approximately 90 photographs compiled by Gertrude L. Hick related to the Hick family residence and neighborhood in Delta, Colorado, and excursions to various locations in Colorado.

The Delta, Colorado photograph album contains approximately 90 photographs compiled by Gertrude L. Hick related to the Hick family residence and neighborhood in Delta, Colorado, and excursions to various locations in Colorado.

The album (18 x 27 cm) is disbound and has a grey cloth cover with gilt stamped title "The Kodak Book." The album was compiled by Gertrude L. Hick, the wife of physician Lawrence A. Hick, and presented as a Christmas gift to her mother. Images of interest include photographs of the landscape near Delta, Colorado; Gertrude and Lawrence Hick with their young son; the Hick family residence and neighboring homes on Main Street; neighborhood children; the Hicks with friends on excursions to Grand Mesa and Colorado Springs; frontier cabins; and several views of Pitkin, Colorado, including two photographs of mining camps. Two large photographs show the exterior and interior of the Delta Cash Grocery, a store managed by Gertrude's brother, Byram Luce. Additional photographs show a group of children gathered around a maypole; several views of La Platte, Nebraska (Gertrude's hometown); and a bearded man, possibly Delta carpenter Albert Tillotson, displaying his woodcarvings which is captioned, "Compliments of Mr. and Mrs. Tillotson."

The Dennis K. Sullivan photograph album contains 28 images compiled by Detroit, Michigan-based detective Dennis K. Sullivan, including 27 portraits primarily of men and women accused of various crimes, the majority of whom are identified through inscriptions.

The Dennis K. Sullivan photograph album contains 28 images compiled by Detroit, Michigan-based detective Dennis K. Sullivan, including 27 portraits primarily of men and women accused of various crimes, the majority of whom are identified through inscriptions.

The album (15 x 11.5 cm) is a cartes de visite album with embossed brown leather covers, an ornate metal clasp, and gilt-edged pages.

• Tintype portrait of a bearded white man captioned "Dennis K. Sullivan Detroit Mich Detective"
• Carte de visite portrait of a white man with a mustache captioned "Yours Truly, P. W. Herriet (Zeb Crummet)"
• Tintype portrait of a white man captioned "George Lowle suspected of setting fire to the Punchard School House at Andover"
• Carte de visite portrait of an unidentified bearded white man; inscription on verso reads "Wanted in Chicago"
• Carte de visite portrait of a bearded white man taken by Fisher Bros. of Boston; inscription on verso reads "Geo. F. Hartwell of Sandwich Mass left there on the afternoon of Dec. 18 1867 and that was the last was seen of him. He was agoing to Boston and had $1000 in his pocket to pay some bills"
• Photographic reproduction of a photographic portrait of a white man captioned "Bryant T. Henry Defaulter from the Shawmut Bank of 63,000 in money he went to Cuba and was found there by two of the Directors and they settled with him and took 24,000 of the money and let him off"
• Photographic reproduction of a carte de visite portrait of a bearded white man captioned "Dr. Miller 1742"; inscription on verso reads "Rec’d from Chief of Police of San Francisco Cali."; Printed photographer credits of "E. P. Dunshee 2 Tremont Row, Boston" crossed out on verso
• Carte de visite portrait of a white man with a moustache taken by G. H. Loomis of Boston; inscription on verso reads "Thomas the absconding Forger from Hanover st his business was the Hope Envelope Company"
• Carte de visite portrait of a white man taken by Wm. H. Wardwell of Boston captioned "Henry Goodrich"; inscription on verso reads "Missing since April 29th Henry Goodrich Age 29 yrs, 5 ft. 9 Weight 150 lb. light complexion supposed to be temporary insane. Resides 72 West Canton Street Boston"
• Carte de visite portrait of a white woman taken by Wyman & Co. of Boston; inscription on verso reads "Mrs. Coolidge Hotel Beat Sneak Thief Swindler and female Confidence Woman"
• Carte de visite portrait of a white child taken by Wyman & Co. of Boston; inscription on verso reads "Mrs. Coolidge Boy"
• Carte de visite portrait of an unidentified white woman (likely "Mrs. Coolidge") taken by R. B. Lewis of Hudson, Massachusetts
• Carte de visite group portrait of two white women taken by Wyman & Co. of Boston; inscription on verso reads "With tie Bonnet on is Mrs. Coolidge"
• Tintype portrait of a white woman captioned "Lizzie Smith, Larceny of 2 Dreses front Jassie Brigham"
• Tintype portrait of a white woman; inscription on verso reads "Fannie Thompson alias Gallager - 24 Gonch st Care of M. A. Davis. Fannie used to live corner of Crosby & Prince Sts. N. York March 18. 1869 20 yrs old this date"
• Carte de visite portrait of a white man with a moustache taken by Dunshee’s New Photograph Parlor of Boston; inscription on verso reads "Josiah D. Hunt, alias J. H. Dexter absconded from Providence R.I. with $50,00.00 liabilities case Parker & Caldwell Boston Mass."
• Second copy of carte de visite portrait of Josiah D. Hunt
• Third copy of carte de visite portrait of Josiah D. Hunt
• Carte de visite portrait of a white man with a moustache; inscription on verso reads "James Whitney - Singer, Sedused the Wife of Williard the Artist"
• Gem tintype portrait of a white man with a moustache captioned "Daniels Foxboro"; inscription on verso reads "Daniels of Foxboro Mass About 25 years old 5 ft 11 high Well built, light Complexion Auburn hair, redish moustach piped him for his brother"
• Carte de visite portrait of a white man taken by Black & Case of Boston captioned "Daniel Brown"; inscription on verso reads "Daniel Brown Wanted by Thomas D. Kendrick for Forgery $20,00"; revenue stamp dated Jan 16 1865 on verso
• Carte de visite portrait of a white man with a moustache taken by C. L. Howe of Brattleboro, Vermont captioned "Tom Maguire"; inscription on verso reads "Thos. Maguire Tom Mcguire Reporter"; album page includes piece of scrap paper with inscription reading "Ring Thief"
• Gem tintype portrait of a bearded white man attached to business card of Boston grocers Carr, Chase & Raymond; inscription on verso reads "Policeman Barry & Son stole $1000 from Hayley New? & Boyden, got 18 months"
• Gem tintype portrait of a white man with a moustache captioned "Cheeney’s picture"
• Carte de visite group portrait of two white men taken by J. U. P. Burnham of Portland, Maine; inscription on verso reads "Charles Brown & James R. Rickett"
• Carte de visite portrait of a white woman taken by Geo. F. Parlow of New Bedford, Massachusetts captioned "Mary M. Heller"; inscription on verso reads "Picture of Mary M. Heller Newbedford Mass. Address J. H. Briggs Box 62 Newtonville Mass. or Mrs. Russell No 1 Rickerson court Newbedford Mass."
• Carte de visite portrait of a white man with a moustache taken by B. P. Browne of Boston; inscription on verso reads "Edward Sweetler, alias Professor Maurice, " " Rupert"
• Carte de visite portrait of a white woman taken by Gilchrest of Lowell, Massachusetts; inscriptions on verso read "Hattie W. Blanchard about 30, light compl, blue eyes, medium hight" and "She had a Fancy Man by the Name of Williams She lives at 105 Plesant St"

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 Dolph family carte-de-visite album contains formal studio portraits, many taken by the Dolph Brothers of Erie, Pennsylvania, around the 1860s-1870s. The photographs show both men and women, and two are artistically posed scenes.

The Dolph family carte-de-visite album (16cm x 13cm) contains formal studio portraits, many taken by the Dolph Brothers of Erie, Pennsylvania, around the 1860s-1870s. This album may have been compiled from loose photos acquired at an estate sale by collector and donor Frederick P. Currier. The photographs, comprised of 42 albumen print cartes-de-visite and 5 tintypes, mostly depict men and women, though a few include children. Some items are hand-colored. Many of the subjects are identified by name, and several are labeled on the back "Dolph home," possibly by the collector and donor. Dolph family members include Albert W. Dolph in a military officer's uniform, Mr. and Mrs. J.H. Dolph, and James or Joseph Dolph. A photograph of two men in close conversation, one with a straw hat, pipe and large book in his lap, the other in a top hat and cane, may be of the Dolph brothers themselves; a man beside a mirror that shows his reflection may be a portrait of Jas. Dolph. Also of note is a double portrait of unidentified albino twins. The album's brown leather cover has a geometric design in relief and is closed with two metal clasps.

This collection is primarily made up of photographs, periodicals and clippings, and ephemera related to World War I. The materials pertain to the occupation of France and Belgium, peace efforts, and the American-British-French-Belgian Permanent Blind Relief War Fund, among other subjects.

This collection is primarily made up of photographs, periodicals and clippings, and ephemera related to World War I. The Photographs consist of 422 prints and 240 negatives; a few of the prints are duplicates, and some images are represented by both prints and negatives. Most of the personal photographs were taken in numerous locales in France between 1916 and 1919, often showing rubble and destruction, camouflaged outposts, healthy and wounded Allied soldiers, nurses, medical automobiles and other scenes directly related to the war. Some items feature artillery pieces, dugouts or bunkers, warships, and the front lines; one shows an artillery explosion. German-language signage is visible in a few photographs, as are German and Allied cemeteries and grave markers. One group of images relates to the victory parade held after Woodrow Wilson's arrival in Paris in 1918. Views of French churches, chateaux, and towns are also present. Some of the personal photographs from the war period are informal portraits of French men and women, including a group of girls with large Alsatian hair bows.

The collection contains some commercial photographs, with captions written directly on the negatives. These include views of dead soldiers, artillery pieces, and a picture of a French tank division heading into battle. One captures the explosion of a German mine in Cambria, and one features Ferdinand Foch and John J. Pershing.

Other groups of photographs date from before the war. A group of photographs taken in Albany in 1909 includes a view of the Emma Willard School. One group of prints is comprised of views of Ely Cathedral and the various colleges of the University of Cambridge. Another set concerns a trip to Mexico, particularly Oaxaca and Mitla. These pictures feature natives in local dress (often carrying large loads), an outdoor produce market, and horse- or mule-drawn vehicles.

The Ephemera series includes 5 empty albums once used to house some of the photographic negatives in the collection, including captions. Two empty photograph envelopes are housed with the photographs, as are a Kodak exposure guide, a manual for the No. 0 Graphic Camera, and a number of loose articles laid into the cover of an issue of Kodakery. A group of 19 large broadsides and notices includes items in English, French, and German. Many of these are the German army's posted notices to residents of occupied towns in France and Belgium, which list rules and regulations related to curfews, "voluntary" work, and other aspects of daily life. One lists methods for picking nettles and offers rewards for residents who provide them, one warns against alcohol use, and one contains news about the Germans' progress toward Paris. Also included are three advertisements for French war bonds, a sign encouraging viewers to "Help Re-chickenize Devastated France," and a sign for an Army telephone station.

One group of items pertains to theAmerican-British-French-Belgian Permanent Blind Relief War Fund. This series includes a printed appeals by Helen Keller and the association's leadership, a pamphlet highlighting the organization's work, and reports by numerous organizations seeking to provide relief for blinded soldiers. Items printed in Braille include a list of rules for the Blinded Soldiers' and Sailors' Hostel in London, alphabet cards, a book with raised illustrations of several animals and parts of the human body, and several other items printed only in Braille.

The collection also includes a large number of Periodicals and Printed Items , including complete issues of and extracts from American magazines such as Vogue, the Illustrated London News, Dress & Vanity Fair, and The Red Cross Magazine; French publications such as L'Illustration, La Baionnette, and Les Arts Français; and the Austrian magazine Kikeriki. Many of these include photographs or other illustrations of winter recreational activities and World War I-era soldiers. Newspaper clippings often refer to the progress of World War I and to the peace process; one clipping pertains to the relationship between Calvin Coolidge and Herbert Hoover in 1932. Other printed materials concern Germany's justifications for going to war, the German and Allied delegations' responses to the first draft of the Treaty of Versailles, and the capture of German artillery ("I have captured a boche Machine gun... what can I do with it?"). Other items include a musical score for a Girl Scout song entitled "Onward," French ration tickets, and a hand-colored lithograph by Marcel Jeanjean showing several French soldiers carrying logs across a battle-scarred landscape while smoke rises in the distance.

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 D. S. Dunlap photograph album contains prints of pictures taken in Colorado in 1896 and 1897. The photographs show scenes from a hunting and camping trip, performers during festivals and parades in Denver and Colorado Springs, and groups of young men and women.

The D. S. Dunlap photograph album (23cm x 34 cm) contains 278 photographs taken in Colorado in the late 1890s. Of the items, 271 are mounted directly on the album's pages, 7 are laid into the volume. One of the loose items is mounted on cardstock. Two of the photographs are cyanotypes and one is a photomechanical print. The unidentified photographer(s) took most of these pictures between August and October 1897, with additional items dated 1896 and as late as December 1897. The album, a Kodak product, has the title "Photographs" stamped in gold on its cover.

The first page of the volume has an undated newspaper clipping about a camping party's embarkation for the area around Hahn's Peak in northern Colorado. Three main groups of photographs are integrated throughout the volume. The largest number, dated August 1897-September 1897, show scenes from this trip, including pictures of party members making camp, posing with guns, fishing, and resting by horse-drawn vehicles. One member of the party is shown dressed as a Native American. Captions identify many locations, often along the Continental Divide, and some pictures show mountains, rock formations, and aerial views of towns. Buildings, trains, and horses appear in a few of these photographs, and at least one shows a mine entrance. A second group of pictures shows scenes from parades and festivals in Colorado Springs and Denver in August and October 1897, respectively. These photographs show floats, bands, and performers in costume. The remaining photographs are pictures of houses and pictures of unidentified young men and women, sometimes shown in groups. Two photographs show a woman with a bicycle and a woman in a short dress holding a ball.

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

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

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

The 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 Edward Missling photograph album contains 88 photographs, primarily individual and group portraits, views of homes, and natural scenes presumed to be near Haverhill Mass.

The Edward Missling photograph album (15 x 18 cm) contains 88 total photographs with various developing-out and printing-out paper prints, including a few cyanotypes. Several have artful vignettes with a butterfly design. "Edward Missling" is inscribed in white ink on lavender paper inside the front cover. The album contains individual and group portraits, views of homes, and natural scenes presumed to be near Haverhill Mass. Of note are several images of women dressed in men's clothing, a woman in a bonnet holding a large chicken, a bee-keeper at a hive, and a post-mortem portrait of a man taken in a home showing the body under a mosquito net.

The album has a red leather cover with stamped gilt title "Photographs" and his housed in a gray wrapper with a brown cloth spine and white printed label.

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

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

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

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

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

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

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

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

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

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

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

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

The E. L. Tobias automobile touring photograph album contains 25 photographs showing friends and relatives (often in the company of automobiles) of Huntington, Indiana-based professional photographer E. L. Tobias.

The E. L. Tobias automobile touring photograph album contains 25 photographs showing friends and relatives (often in the company of autombolies) of Huntington, Indiana-based professional photographer E. L. Tobias. The album (19 x 25 cm) is bound in black cloth, there is one loose photograph. Images include views of cars and occupants shown in various settings: beside an oil field, on a country road, in front of a barn, and on the street near the E. L. Tobias residence. One photograph shows a group pushing a car uphill, while a young boy steers the wheel; in another image, the passengers lean forward to urge the car uphill. One of the automobile models featured is likely the 1905 Michigan Tonneau, manufactured by the Michigan Automobile Co. in Kalamazoo, Michigan. In addition to the automobile-related photographs are outdoor group portraits showing people posing in a daisy field, a gliding swing, and gathered at a table for a picnic. One group portrait showing people beside a street car is captioned, "My special car working along Northern Indiana R.R., this in Fort Wayne, 1903." Other identified locations represented in this album include Huntington, Indiana; Auburn, Indiana; and Osceola County, Michigan.

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

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

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

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

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

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

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

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

The 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 English carte de visite album (14.5 x 20.5cm) is a 50 page leather album containing portrait photographs of individuals and couples as well as two Italian views. Many of the images in the album were taken by well-known photographers such as André-Adolphe-Eugène Disdéri, Napoleon Sarony, and Félix Nadar.

The English carte de visite album (14.5 x 20.5cm) is a 50 page leather album containing portrait photographs of individuals and couples as well as two Italian views. Many of the images in the album were taken by well-known photographers such as André-Adolphe-Eugène Disdéri, Napoleon Sarony, and Félix Nadar. The photographer's logo of each photograph is visible on the opposite side of the page, and some of the photographs contain hand-written biographical notes on the back.

Individual portraits in the album include those of Dr. Thomas Hodgkins (1798-1866) and his wife Sarah Frances Hodgkins (1804-1875), as well as of Charles Ferdinand, Prince of Capua (1811-1862) and his wife Penelope Smyth, Countess of Mascali (1815-1882). Of note is a portrait of a man taken by Sarony that has on its verso the manuscript inscription "Timothy Harrison/ Richmond/ Indiana." There is a Timothy Harrison, orginally from England, who was buried in Earlham Cemetery in Richmond, Indiana in 1881 at the age of 48. This is presumed to be the man depicted in the portrait.

The Episcopal bishops carte de visite album contains 35 carte de visite photographs of American episcopal bishops and reverends. The cartes de visite date from ca. 1860 to 1870. Most images include handwritten inscriptions stating the name of the subject.

The Episcopal bishops carte de visite album contains 35 carte de visite photographs of episcopal bishops and reverends from throughout the United States during the 1800s. The carte de visites date from ca. 1860 to 1870. Most images include handwritten inscriptions stating the name of the subject.

The album is 12.5 x 16 with brown leather covers.

The European Tour, Yosemite, and Minnesota photograph album contains pictures of scenes in various European countries, reproductions of famous paintings, portraits of prominent Europeans, and comic strips. Many of the visual items are engravings and colored illustrations.

The European Tour, Yosemite, and Minnesota photograph album (27cm x 34cm) contains around 780 photographs, engravings, and illustrations of scenes, people, architecture and artwork from various European countries, Great Britain, and the United States. Newspaper clippings and comic strips appear at the end. Most of the photographs appear to be commercially produced prints of the type made for tourists, and many of the illustrations are in series related to a particular place. The images range in size from full page to smaller items pasted in as many as 11 or 12 to a page. Original covers are missing.

Countries represented in the photographs include present-day Turkey, Greece, Italy, Germany, France, and Great Britain around the 1870s. Bird's-eye views, street scenes, landmarks such as religious buildings and ancient structures (particularly in Athens and Rome), famous paintings and sculptures, bas reliefs, and other works of art predominate. Of interest are a group of pictures showing traditional Neapolitan funeral costume, and a photograph of Mount Vesuvius erupting in 1872. Portraits of local ethnic "types" in traditional dress, political and religious leaders, and royalty are also present. The engravings and other illustrations, sometimes colored, often depict similar scenes and landmarks.

The final pages contain photographs taken in present-day Yosemite National Park and Minnesota, a newspaper clipping showing a "dynamiter in [a] Los Angeles police station," electrical equipment related to the New York City Subway, and a group portrait of firefighters in Watertown, New York. A group of newspaper clippings of the comic strip "Sambo and his Funny Noises" are pasted on top of European views. The comic strip, by William F. Marriner, ran from 1905-1914 and chronicled the misadventures of "Sambo," later "Samuel Johnson," a racist stereotype caricature of an African American boy.

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 Evans family photograph collection consists of a six-volume set of albums and approximately 60 loose photographs mainly depicting the immediate family of Lucretia Booth Evans of Riverdale, New York. Three of the albums contain baby pictures of Evans and her brothers Mason and Morgan Jr. while the other three albums focus on family life and vacations taken by the family.

The Evans family photograph collection consists of a six-volume set of albums and approximately 60 loose photographs mainly depicting the immediate family of Lucretia Booth Evans. Three of the albums contain baby pictures of Evans and her brothers Mason and Morgan Jr. while the other three albums focus on family life and vacations travel.

Volume One: The Morgan Evans, Jr. Baby Book album (19.75 x 16.5 cm) contains 12 photographs of Morgan Evans Jr. as a young child. There is one photograph with his maternal grandmother, Susan Edwards Booth Robinson. Evans Jr.’s obituary, World War I draft registration certificate and a lock of his hair from when he was 14 months old are also present.

Volume Two: The Mason Robinson Evans Baby Book album (19.75 x 16.5 cm) contains 34 photographs of Mason Evans as a child. A lock of his hair from when he was 18 months old is also present.

Volume Three: The Lucretia Booth Evans Baby Book album (23.5 x 18.5 cm) contains 9 photographs of Lucretia Evans as a baby. Most pages remain blank, and a lock her hair from when she was 16 months old is also present.

Volume Four: The Point o' Woods album (22.25 x 39.5 cm) contains approximately 175 photographs and several negatives stored behind snapshots. This album focuses on summer trips to Point o' Woods on Fire Island, Suffolk County in New York State during the 1930s. Many of the individuals depicted in this album are identified with captions. Images of note include the aftermath of the September 1938 New England Hurricane.

Volume Five: The Lucretia Evans early adulthood album (26.75 x 34.25 cm) contains approximately 170 photographs and several negatives stored behind snapshots. The images include landscapes from the late 1930s and images of Lucretia's final days at the Baldwin School in Bryn Mawr, Pennsylvania, and her time in school as an X-Ray technician.

Volume Six: The Lucretia Evans travel album (22.75 x 31.75 cm) contains approximately 200 photographs, 4 negatives and 35 pieces of printed ephemera representing trips to the Bahamas, Bermuda, and Canada in the 1950s. Inside the front cover is a 50th wedding anniversary clipping of Kitty and Morgan Evans Sr.

There are approximately 60 loose photographs that range from early 20th century cabinet cards of Kitty Evans' family to a large class picture of Lucretia Evans’ X-Ray Technician class.

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

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

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

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

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

The Family travel photograph album contains approximately 335 photographs depicting the travels of an unidentified family to various locations in California, New Jersey, New York, Virginia, Washington, and British Columbia.

The The Family travel photograph album contains approximately 335 photographs depicting the travels of an unidentified family to various locations in California, New Jersey, New York, Virginia, Washington, and British Columbia. The album (19 x 28 cm) is partially disbound and has green burlap covers. Images include family snapshots primarily taken in Oakland, California (89 photographs in total), and East Orange, New Jersey (73 photographs in total); views of sights in Richmond (Virginia), Victoria (British Columbia), including many home interiors and exteriors, nurses and infants, family groups, and children in cribs and posed with dolls; photographs of parks and scenic views of Oakland; views of the battleships Vermont and St. Louis off the coast of Old Point Comfort, Virginia; and a street and waterfront view of New York City. Other photographs of interest include a light-hearted image of five women with their faces bursting through sheets of newspaper; views from locations in Virginia (Roanoke, Richmond, East Radford, Norfolk, and Jamestown), New York (Manhattan, Brooklyn, Schenectady, and Staten Island), Washington (Seattle and Big Lake), and California (Berkeley and Santa Catalina); White Fleet admiral Robley D. Evans in a carriage; and four real photograph postcards showing night views of San Francisco illuminated to welcome the Great White Fleet, May 6-17, 1908. Most photographs include manuscript captions indicating location and date.

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

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

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

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

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

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

The Fiske carte-de-visite album contains formal studio portraits of various men and women, most of whom are unidentified. The photographs were taken in locations such as New York City; New Haven, Connecticut; and Litchfield, Connecticut.

The Fiske carte-de-visite album (13cm x 9cm) contains 9 cartes-de-visite and 3 tintypes, all of which are formal studio portraits of men, women, and a young boy. With the exceptions of a young boy named "Ralph," a woman identified as a daughter of [Sereno] Scranton, and Reverend Samuel A. Fisk, a Civil War officer pictured in his uniform, the subjects are anonymous. Some of the pictures were taken in locations such as New York City; New Haven, Connecticut; and Litchfield, Connecticut. The album, which may have belonged to Albert Mentandon of "Geneva," has a cloth cover with a floral pattern stamped in gold.