Collections

The Nathan Smilie Tupper Lake Adirondacks photograph album (13 x 20.75 cm) is a snapshot album with 37 photographs of the Adirondacks region of New York and groups of men boating, camping, and hunting. The album includes many night photographs taken with a flash. This album belonged to Dr. Nathan Smilie of Philadelphia.

The Nathan Smilie Tupper Lake Adirondacks photograph album (13 x 20.75 cm) is a 32 page album with 37 snapshots of the Adirondacks, groups of men, hunting, campsites, and cottages. Throughout the album are night photographs of deer taken with a flash.

Of note on the first page is a picture of Smilie and his guide, Jim Eccles, in a small boat entitled "Madawaska Sept 2-1901/Flash Light Outfit. 'The Oregon.'" Inside the boat is the equipment used to take flash photographs.

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

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

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

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

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

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

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

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

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

The New England Criminals tintype album contains mug shot portraits of thieves, burglars, and other criminals or suspected criminals. Most of the individuals pictured were white males of varying ages, but the album also includes photographs of women and an African American man.

This album (15cm x 12cm) contains 47 tintype portraits of criminals or criminal suspects, mostly white males of varying ages. Pictures of one African American man, horse thief Frank Fields, and four women, mostly thieves, are also included; two of the women were photographed with other unidentified women. All but two of the subjects are identified by their name, alias, and/or the nature of their alleged crime; two photographs appear in the album twice. Most of the individuals were accused of theft (often of horses) and burglary, but others were arrested for shoplifting, pickpocketing, adultery, polygamy, and being a "confidence man." The album's green covers have a gold floral design, and the album is closed with a metal clasp.

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

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

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

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

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

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

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

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

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

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

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

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

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

The New Jersey carte-de-visite album contains studio portraits of men, women, and children taken in New York and New Jersey in the late 19th century, as well as three chromolithograph "scraps" mounted on visiting cards.

The New Jersey carte-de-visite album (17cm x 13cm) contains 36 cartes-de-visite, 10 tintypes, and 3 chromolithograph "scraps" mounted on visiting cards. The cartes-de-visite and tintypes are studio portraits of men, women, and children taken in New York and New Jersey in the late 19th century. A small number have hand coloring. Most items show adult men and women photographed individually, with one picture of an adult couple, two pictures of young children, and one picture of an infant sitting in a chair. Eight mounted gem tintypes are included. Three lithograph "scraps" depict a young girl pictured with a friendship album, an open envelope, and an artist's palette with the captions "Friendship," "Devotion," and "Forget Me Not." Each scrap is mounted on a visiting card with a raised decorated border and the names "Mrs. George Carmers" and "Morriss Algoe" printed in script. The volume's brown cover has a raised geometric design, and it has two enameled metal clasps.

The New Jersey, New York, Connecticut and Vermont photograph album (18.5 x 26 cm) contains 70 photographics of parks, monuments, bridges, river scenes, lighthouses, waterfalls, and steamboats, in New York, Connecticut, New Jersey, and Vermont.

The New Jersey, New York, Connecticut and Vermont photograph album (18.5 x 26 cm) contains 70 photographics of parks, monuments, bridges, river scenes, lighthouses, waterfalls, and steamboats, in New York, Connecticut, New Jersey, and Vermont. Images of ships include photographs of the steamboats Naugatuck, Hendrick Hudson, and Robert Fulton, as well as the prison ship Success. The few city scenes present include two views of the State Capitol in Albany (one with election banners for the 1908 presidential election, the second with election banner for 1912 gubernatorial election), and views from the river of Tarrytown, N.Y., St. Johnsbury, Vt., and the New York City skyline. Also included are multiple views of Ethan Allen Park and Battery Park in Burlington, Vermont. Photographs include typed captions; paper label inside from cover: F.H. Tucker, Artistic and Commercial Photographer.

The album has a black pebbled leather cover which has been partially disbound. Stored in a three-part wrapper with green cloth spine.

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

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

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

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

This carte-de-visite album primarily contains formal studio portraits of men, women, and children taken in various locations in northeast North America from the 1860s to 1880s. One photograph shows an artistic rendering of the text of the Lord's Prayer, and a colored cutout is pasted into the volume.

This carte-de-visite album (15cm x 13cm) primarily contains formal studio portraits of men, women, and children taken in various locations in northeast North America from around the mid-1860s to early 1880s. The pictures are comprised of 42 carte-de-visite and 2 tintype portraits, as well as an additional carte-de-visite photograph collage. Two of the items are dated November 3, 1865, and September 3, 1881; few of the people pictured are identified. One woman is shown holding an infant in her lap. One tintype shows a young man dressed in costume wearing a plumed hat. The additional carte-de-visite depicts a printed version of the Lord's Prayer that utilizes several ornate fonts; a picture of Jesus Christ appears amidst the text, which is surrounded by drawn scenes of angels. A cutout pasted into the volume is a colored drawing of a woman standing next to a grazing sheep, framed by three large flowers. The album's brown leather cover has geometric designs stamped in gold and metal clasps; a floral design is carved into the sides of the pages. "Photographs" is stamped in gold on the spine.

The New York (N.Y.) medical registers contain demographic and medical information about New York City residents suffering from various ailments in the late 1890s; some entries include graphic photographs related to patients' physical health. Entries list the patient's name, country of origin, and address, as well as providing detailed descriptions of the patient's medical history, current condition, and treatment.

The New York (N.Y.) medical registers contain demographic and medical information about New York City residents undergoing medical treatments in 1898 and 1899; some entries include graphic photographs related to patients' physical health. Each volume contains around 300 pages of medical records, and each has an alphabetical index listing patients' names and ailments. The unnamed hospital primarily treated adult men and women, though some records pertain to children.

Each entry begins with the patient's name, age, country of origin, occupation, and address; most belonged to the working class. The registers provide further detailed information about the patient's relevant medical history (at least one patient had previously been admitted to Bellevue Hospital), current condition, and treatments, including examination notes and descriptions and results of operations. The writers also noted the date of discharge. Some entries include photographs of patients, including many who suffered from tumors, hernias, and lesions, often located between the abdomen and the feet. Others suffered from appendicitis and, on fewer occasions, broken bones and bullet wounds. At least one image utilized x-radiation.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Oberlin College carte-de-visite album contains formal studio portraits of professors and students associated with the college in the middle to late 19th century.

The Oberlin College carte-de-visite album (13cm x 11cm) contains 32 formal studio portraits of men and women who were associated with the college in the middle to late 19th century. The volume includes pictures of students, professors, and two of the college's presidents, Charles Grandison Finney (1851-1865), and James Harris Fairchild (1866-1889). Most individuals pictured are identified in captions, and were associated with the school from the early 1860s to the 1870s. Many photographs were taken by A.C. Platt (1828-1884) in Oberlin, Ohio. The volume's brown leather cover has a geometric design, partially colored gold, and a floral design appears in relief on the edges of the pages. It has two metal clasps.

The Oberlin, Ohio photograph album contains 11 studio portrait photographs, including several images of family members and friends apparently related to a biracial family based in Oberlin, Ohio.

The Oberlin, Ohio photograph album contains 11 studio portrait photographs, including several images of family members and friends apparently related to a biracial family based in Oberlin, Ohio.

The album (13.5 x 10 cm) has embossed leather covers and a broken metal clasp. The album spine has completely deteriorated and all pages are completely detached from one another. For conservation and preservation purposes, all original photographs have been removed from their album page slots and replaced with facsimile copies. The original photographs are stored in a separate container along with the album.

Most of the individuals represented in this album have been tentatively identified through the presence of inscriptions made on album pages; all or most of the subjects appear to have been biracial/African American. Many page captions appear to be associated with friends and family members of the Vaughn family (alternatively spelled “Vaughan”) of Oberlin, Ohio. One group portrait of two boys present in the page captioned “John & Louis Vaughn” may depict brothers John Sewell Vaughn and Wendal Louis Vaughn, the latter of whom went on to become a professional photographer. While it remains unclear who the original compiler of the album was, it is possible that it was assembled by either a member or close friend of the Vaughn family.

The following list includes inscriptions present on album pages (in order of appearance) and/or descriptions of the portraits associated with each inscription:

• “Oscar Viney Dolph Viney’s father”: Carte de visite portrait of a bearded man with a hat. Possibly Oscar F. Viney (approximately 1830-1904) of Gallipolis, Ohio, who had a son named Adolphus E. Viney (1873-1947)
• “Aunt America Vaughn Clark”: Tintype portrait of a young woman. Possibly America Vaughn Clark (approximately 1845-?) of Gallipolis, Ohio. Includes revenue tax stamps on verso dated January 16 1866 as well as pasted-on clipped newspaper obituary for a woman named Maude Cooper Horton (1880-1903). The obituary mentions a surviving three-year-old daughter by the name of Louise; a Columbus, Ohio, death certificate for a Louise Horton (1900-1918) with parents listed as “Maud Cooper” and “William Horton” indicates that this family was "colored."
• “Will Vaughn”: Carte de visite portrait of a man with a large mustache by H. M. Platt of Oberlin, Ohio. Possibly William Craddock Vaughn (approximately 1835-1912)
• “John & Louis Vaughn”: Carte de visite group portrait of two boys by H. M. Platt. Possibly John Sewell Vaughn (1857-1931) and Wendel Louis Vaughn (approximately 1860-1918).
• “John Vaughn": Carte de visite portrait of a young man by H. M. Platt. Possibly John Sewell Vaughn, though also appears to possibly resemble older version of Wendel Louis Vaughn when compared to preceding group portrait.
• “Aunt Margaret”: Carte de visite portrait of a woman with curly hair.
• “Aunt Margaret”: Tintype portrait of a woman with curly hair. Same woman photographed in preceding image.
• “Thresa Madey”: Carte de visite portrait of a woman by C. W. Howland of Cincinnati, Ohio.
• “? Cooper”: No photograph in page slot.
• “Mary Hamilton”: Tintype portrait of a young African American woman.
• [Unidentified African American infant]: Carte de visite portrait of an unidentified infant by an unidentified photographer of St. Louis, Missouri.

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

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

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

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

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

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

The Olean (N.Y.) cabinet card and carte de visite album contains 3 cabinet cards from ca. 1880s and 12 cartes de visite from ca. 1860s. The album likely dates to ca. 1880s.

The Olean (N.Y.) cabinet card and carte de visite album contains 3 cabinet cards of women from ca. 1880s and 12 cartes de visite mostly of men, women, and children from ca. 1860s. The album likely dates to ca. 1880s. An inscription on the interior front cover reads "Merry Christmas, Harrington School, Dec. 25, 1903, Daisy May Spencer, Teacher," and does not appear to be related to the material within.

The images take place in a formal studio setting from photographers located in Olean (New York), Rock Island and Chicago (Illinois), Titusville (Pennsylvania), San Francisco (California), and Nashua (New Hampshire). Some photos include handwritten names on the bottom front of the mounts. One photograph of a structure is identified by a handwritten inscription as "Olean Baptist Church."

The album is 19.5 x 25 cm with decorative green celluloid covers.

The Ontario carte-de-visite album contains formal portrait photographs of men, women, and children, including members of the compiler's family. Many of the photographs were taken in southern Ontario cities such as Brantford, Simcoe, and Woodstock.

The Ontario carte-de-visite album (15cm x 11cm) contains 33 carte-de-visite and 9 tintype photographs of numerous men, women, and children, some of whom are identified as members of the compiler's family. The formal studio portraits were taken by photographers in cities such as Brantford, Simcoe, and Woodstock, Ontario, in the mid- to late 1860s. Some family members are identified by their relationship to the owner, including a sibling, a pair of grandparents, and "Grandmother Merrill." Some subjects were photographed in pairs, and some held objects such as hats. A few of the cartes-de-visite and tintypes have hand coloring, and two cartes-de-visite have colored background designs printed directly onto the cards. A gold design is stamped on a raised portion of the album's front and back covers, which are made of pebbled brown leather.

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

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

The Otto C. Thompson family photograph album contains group and individual portraits of family members, pictures of farms and scenery in rural Indiana, and views of downtown New Albany, Indiana, taken during the late 19th and early 20th centuries.

The Otto C. Thompson family photograph album (16.5cm x 30cm) contains 130 photographic prints taken from September 14, 1898, to 1916. The album covers are missing. Pictures are pasted one or more to a page, and most are captioned. The majority of images were created from 1898-1913.

The photographs depict middle-class life in the Midwest with portraits and views of urban and rural scenery, family and business activities. Included are views of downtown New Albany, Indiana in the early 20th century, and views of two of the city's Presbyterian churches. Other locales include Lafayette, Indiana; Borden, Indiana; and Mitchell, Indiana. Of particular note are a group of three images showing the exterior, interior, and signage of Otto C. Thompson's gramophone dealership at 107 East Main Street. A page of notable portraits of men includes a mail-carrier and a hunter with ammunition belt. Other portraits show Sherley Thompson as an infant and toddler, children bathing in a washtub, and photographs of various individuals family groups taken outdoors, sometimes doing farm work or posing by houses. A large group appears gathered around an early automobile and another posed at the time of a funeral. Other vehicles pictured include an interurban electric car in a snowy winter landscape, paddlewheel riverboats, and steam trains in motion along the countryside and emerging from a tunnel. A group is shown riding a miniature train in front of St. Louis Union Station. Some images feature farm animals such as horses, cows, pigs, sheep, and chickens, and others were taken during the flood of 1913.

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

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

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

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

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

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

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

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

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

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

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

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

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

The Parrish family photograph album contains 110 photographs assembled by the Parrish family of Philadelphia, Pennsylvania, including images of family and friends, political figures, celebrities, and popular illustrations as well as photographs related to Union efforts to educate freed slaves during the Civil War in the Port Royal Experiment.

The album (15.5 x 24 cm) has embossed brown leather covers and two metal clasps. 63 loose photographs are stored in Mylar sleeves and many appear to have been separated from the album over time. In some cases, it is possible to match loose images with a specific page slot through pairing inscriptions on the photograph with annotations present in the album. However, many loose images do not contain any identifying information, so it is unclear where some may have been located within the album or if they were ever associated with the album in the first place. It is possible that a small portion of the loose images were never originally included in the album since there are more photographs present in the collection than there are available photo slots in the album. At least two portraits from the 1890s do not appear to have belonged to the original family collection.

Compilation of the album may have first begun in the 1860s, but it was most likely completed during in the 1870s with photographs that the Parrish family had acquired over time. Sarah H. Parrish, née Wilson (1836-1892), the wife of Joseph Parrish’s grandson John Cox Parrish (1836-1921), may have been one of the primary creators of the album. She and John had a daughter named Caroline L. Parrish (1863-1915), who may be the “Carrie” whose name is written on the back of some of the photographs. Overall, there appear to be three different styles of handwriting present in the album. Captions for several of the album’s portraits were made in pencil in a flowing cursive while other names appear in a more juvenile-looking cursive hand, and a distinctive third hand also appears sporadically. The two cursive hands may well have been Sarah’s and Carrie’s as mother and daughter worked on the album together in the mid to late-1870s, with an occasional contribution (the third hand) possibly made by one of Carrie’s three younger brothers. One other detail supports this hypothesis: a portrait labelled “Fred” with “Mrs. Parrish, with love of Fred” inscribed on the verso. The individual photographed here was most likely Sarah’s cousin, Frederick Cleveland Homes (1844-1915). Additionally, the portrait on the page next to Fred’s portrait is of a young child identified as “Charlie Homes,” and it is likely that this is Fred’s son Charles Ives Homes (1872-1939).

Parrish family members are well represented in this album, while other unidentified family members may also be portrayed in some of the loose photographs without captions. Likely family friends or acquaintances of the Parrishes whose portraits are present include George and Catherine Truman, James and Lucretia Mott, the Rev. Richard Newton, and Phillip Brooks, all of whom were active in the same abolitionist organizations as the Parrishes. The album also contains many images of admired religious, political, and cultural figures, including Quaker heroes George Fox and Elizabeth Fry; Civil War leaders Abraham Lincoln and Ulysses Grant; George and Martha Washington; social reformers Dorothea Dix and Anna E. Dickinson; actor Edwin Booth; and Queen Victoria and Prince Albert. A number of these images are photographic reproductions of painted, engraved, or lithographic portraits. Also present are four hand-colored photographs of Dutch women in traditional dress as well as photographic reproductions of popular sentimental genre scenes such as “The Unconvanience of Single Life.”

Of particular note are a series of photographs related to the Port Royal Experiment, an ambitious effort to provide education for freed slaves following the capture of islands off the coast of South Carolina by Union troops in 1861. Relief committees in the North raised money and sent volunteers to set up schools and other institutions. Among the most successful was the Penn School, established by Laura Matilda Towne with support from the Philadelphia Freedmen’s organization in which the Parrish family was actively involved. People and places are identified with ink captions on the photographs themselves in a hand that differs from other inscriptions in the album. Towne may possibly have compiled these images herself and sent them to supporters back home. This series of photographs includes seven images of Beaufort, South Carolina, (four of which were produced by Sam A. Cooley, photographer to the Tenth Army Corps) captioned “Beaufort Soldiers’ Chapel and Reading Room,” “Path to the river of Smith’s Plantation,” “Beaufort House / Where we Stopped, showing the Beaufort Hotel and nextdoor office of the Adams Express Company,” “Soldiers’ Graves,” “Gen. Saxton’s Headquarters,” “Father French’s House,” and “Our House.” Three cartes de visite produced by Hubbard & Mix show instructors Towne, Ellen Murray, and Harriet Murray respectively posing with freed black children. The photograph with Ellen Murray bears inscriptions identifying her students as “Peg Aiken” and “Little Gracie Chapin (one of Miss Murray’s brightest pupils).” A fourth Hubbard & Mix image captioned “I’m a freeman” shows an African-American man dressed in clothing made from rags and includes an album page inscription that reads: “Young Roslin says, ‘Now I’m free, I go to bed/ when I please I’se gits up/ when I please. In olden times/ I’se help gits de breakfast/ but no’se time to eats it myself/ Ha-ha-I’se happy boy now.” Also present are three cartes de visite produced by photographers based in Nashville, Tennessee, including one portrait by T. M. Schleier of an African-American woman with two children (one of whom has a much lighter complexion than the other) with the recto caption “Lights & Shadows of Southern Life” and verso caption “Aunt Martha and children/ Slaves/ Nashville, Tenn.,” as well as two other images by Morse’s Gallery of the Cumberland that show the same young African-American boy looking sad “Before the Proclamation” and then grinning broadly “After the Proclamation.”

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

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

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

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

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

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

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

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

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

These albums contain photographs taken during Robert Peary's expeditions into the arctic regions. Volume 1 represents the 1897 trip to present-day Nunavut and Greenland on the ship Hope. The photographs feature arctic scenery, members of Peary's crew, the Hope, Inuit dwellings and American camps. The Inuit adults and children pictured include some of those who returned with Peary to the United States. Volume 2 represents one of the later Peary expeditions from 1905-1906, or 1908-1909. The images in this volume were removed from the original housing and are without identification. A vessel resembling Peary's ship from the later expeditions, S.S. Roosevelt, appears in several photos, as does a man resembling the Roosevelt's Captain, Robert Abram Bartlett.

Volume one contains 100 9cm x 9cm photographs taken during Robert Peary's expedition to present-day Nunavut and Greenland on the ship Hope in the summer of 1897. Each page (17cm x 29cm) contains two items; most include brief captions identifying places and people pictured. The volume's original covers are missing.

Many of the photographs feature scenery along Baffin Island in present-day Nunavut, including icebergs and glaciers; views of the Hope; small boats; Inuit boats and kayaks; Inuit huts and American tents; and natural features such as waterfalls, glaciers, and icebergs. The photographer also took pictures of Inuit adults, children, and crew members onboard the Hope; captions identify Robert Peary, his daughter Marie and her African American nurse, members of the expedition, and Inuit persons named "Kishu" and "Minnie". Kisuh may be Qisuk, and Minnie is very likely Minik, who were both taken to New York by Peary. A group photograph taken onboard ship may include Matthew Henson, Peary's African American assistant, although not identified as such. A few pictures were taken inside what appears to be a small wooden structure, and crew members occasionally posed outdoors with deer and caribou they had killed. One photograph of a "Fossil Bed" appears to have been printed from a broken glass plate negative.

Volume 2 is comprised of 92 12cm x 18cm and 10cm x 13cm photographic prints, likely taken on the Peary expedition of 1905 or later. The prints have been removed from the no longer extant original album pages, and are currently housed in a dark green ring-binder in a tan cloth sleeve measuring 34cm x 31cm. The images include scenes of northern settlements and camps; ice flows; crew-members on board ship; the hunting of a walrus, displaying a polar bear's head; men with bear cubs; and Inuit people, their dwellings, kayaks and boats. Several vessels appear including one that is likely the SS Roosevelt; also a fishing schooner; and an unidentified steamship. There are many portraits of crew members, all unidentified. Several are of a man resembling the Roosevelt's Captain, Robert Abram Bartlett.

Three magazine clippings from the mid-20th century are included that refer to Captain Bartlett.

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

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

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

The Pennsylvania National Guard album contains approximately 250 images pertaining to an unidentified man’s service with the Pennsylvania National Guard Cavalry and his civilian life from circa 1916 to 1918. The vast majority of the photographs are snapshots primarily taken in Pennsylvania, Texas, and New Mexico.

The Pennsylvania National Guard album contains approximately 250 images pertaining to an unidentified man’s service with the Pennsylvania National Guard Cavalry and his civilian life from circa 1916 to 1918. The vast majority of the photographs are snapshots primarily taken in Pennsylvania, Texas, and New Mexico.

A carte de visite and postcard are loose in the front of the album. The carte de visite of an unidentified man photographed in Pottstown, Pennsylvania. The postcard depicts the Basilica of Sainte-Anne-de-Beaupré, Quebec.

The first few pages of photographs depict Mount Gretna, Pennsylvania and show the Pennsylvania National Guard’s encampment, a river (possibly the Susquehanna River), and three men identified as Captain Arthur C. Colahan, Lieutenant Edward Hoopes, and Lieutenant William P. Wattles. Only the first two pages include captions.

The next series of photos likely show the Pennsylvania National Guard's encampment near El Paso, Texas, which they occupied until early 1917. These photos show border patrol, artillery training, drills, supply wagon trains, a polo team, game of baseball, a dust devil, reconnaissance aircraft, cavalry maneuvers, and a cavalry charge.

Interspersed throughout are photographs of civilian and family life. These images include a woman and newborn child, likely the unidentified compiler's wife and child. Some of these photos show picnics, a bullfight, racehorse track, a ranch, and scenic landscapes. Many show small towns and vernacular architecture, specifically mission style which was common to the area. Of particular note is a parade with a large sign, "We're from El Paso Tex/ Berlin or Bust."

The remaining portion of the album contains images of Texas, showing scenes at a park, the Capitol Building, and more family photos. Other identifiable locations include the Alamo, Kern Place, Hotel Sheldon (El Paso, Texas), and Elephant Butte Dam and Reservoir.

The Pennsylvania, Virginia, and Washington D.C. photograph album contains 44 photographs of Pennsylvania, Euclid (Ohio), George Washington's Mount Vernon Estate, and Washington D.C. from 1898 to 1933.

The Pennsylvania, Virginia, and Washington D.C. photograph album contains 44 photographs of Pennsylvania, Euclid (Ohio), George Washington's Mount Vernon Estate, and Washington D.C from 1898 to 1933. Some of the photographs have handwritten or typed notations on the back often identifying location and/or date. The first half of the album shows scenes of a "Decoration Day" Parade in 1918 and the Pennsylvania countryside. There are two images on page 17 of Euclid Beach (Ohio) crowded with beachgoers. The next series of images show various views of George Washington's Mount Vernon Estate and its grounds. The last few pages of the album contain images of Washington D.C. Specific sites include the Thomas Jefferson Building (Library of Congress), United States Capitol, and Union Station. Three photographs were found housed behind mounted photographs and are now loose. These can be found on pages 17, 18, and 22.

The album is 13 x 19.5 cm with black cloth covers.

The People photographed while reading photograph album contains 82 portraits of people reading as well as three newspaper clippings regarding the accidental death of railroad fireman Joseph Ronk in Wooster, Ohio.

The People photographed while reading photograph album contains 82 portraits of people reading as well as three newspaper clippings regarding the death of a railroad fireman.

The album (26.5 x 21.5 cm) has red velvet covers and a metal clasp. While the album itself and all the photographs in it date to the 19th/early 20th century, these materials were compiled by a noncontemporary individual with an interest in historic images of people reading. Also present are three newspaper clippings related to the accidental death of railroad fireman Joseph Ronk (1865-1888) following a train derailment in Wooster, Ohio, in July 1888.

The Perry family photograph albums consist of a five-volume set of albums containing 208 albumen print photographs showing scenic and town views in the vicinity of Cumberland, Maryland.

The Perry family photograph albums consist of a five-volume set of albums containing 208 albumen print photographs showing scenic and town views in the vicinity of Cumberland, Maryland. The albums (each 18 x 27 cm) are half leather bound.

• Images of particular interest in this volume include street views (mostly of Washington Street) in Cumberland, Maryland; a bird's-eye view of Cumberland from Rose Hill Cemetery; views of the Chesapeake & views of the Chesapeake & Ohio Canal and Potomac River; interior views of St. Peter & Paul Church during Christmas of 1889; a view of the Old National Road (Cumberland Road); and a portrait of a Capuchin monk identified as "Brother Metard." Also of interest are three photographs depicting African Americans of Cumberland, including an image captioned "A moment of antebellum days" showing a black woman identified as "Mammy Daphne" conversing with a white woman identified as "Aunt Eliza Murdock"; an image captioned "Celebrities of Frog Eye, with pickaninnies in the gateway" showing two black men operating a horse-drawn wagon bearing a placard that reads "The Cumberland Baggage Delivery Transfer No 4" while a group of black girls looks on the background; and an image captioned "Our neighbors in Shanty Town" showing a black man with an amputated leg standing in front of a house while playing the banjo. Many but not all of the images bear contemporary inscribed captions. Some photographs are present in other volumes. Contemporary inscription on first page reads "Thornton Tayloe Perry."

• Images of particular interest in this volume include views of the Perry family mansion (formerly owned by the family of George Calmes) on the Cohongaronta islet; views of the Perry family cottage, home of Thomas J. Perry, and home of Henry Shriver on Washington Street; bird's-eye views of Cumberland; views of Cumberland Narrows, Wills Mountain, and Knobly Mountain; views of Rose Hill Cemetery and the Cemetery of St. Peter & Paul; a view of Baltimore Street after a flood; views of Cumberland's working class; an interior view of Emmanuel Church on Easter; a view of people watching a flood with the mansion on Cohongaronta in the background; and views of the "German Cemetery" including one photograph of two women praying at the crucifix shrine. Many but not all of the images bear contemporary inscribed captions. Some photographs are present in other volumes.

• Images of particular interest in this volume include views of the mansion on Cohongaronta and other residences; street scenes from Cumberland (mainly of Washington Street); and various landscape photographs. None of the images have captions. Some photographs are present in other volumes.

• Images of particular interest in this volume include views of the Perry family mansion on Cohongaronta; views of residences including the Perry family cottage, home of Thomas J. Perry, and a house built in 1790 by "Geo Dentone" near the site of Old Fort Cumberland; street scenes from Cumberland (mainly of Washington Street); views of Cumberland's working class; views of canal boats; and various landscape photographs. A number of images bear contemporary inscribed captions. Some photographs are present in other volumes. Contemporary inscription on first page reads "Thornton Tayloe Perry."

• Images of particular interest in this volume include views of Cumberland; views of churches; views of the National Road leading through the Cumberland Narrows; views of Rose Hill Cemetery; views of the Vale Farm homestead; a portrait of a woman mourning at Col. William Lynch Lamar's tombstone; street scenes from around Cumberland; views of the Perry family mansion on Cohongaronta; views of the West Virginia Central Rail Road bridge; views of residences; and various landscape photographs. All of the images bear contemporary inscribed captions. Some photographs are present in other volumes. Contemporary inscription on first page reads "Carroll Sprigg Christmas 1886."

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

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

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

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

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

Volume A:

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

Volume B:

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

The Piñon Lodge, Crystal, New Mexico photograph album contains 49 photographs of log buildings and other structures of Piñon Lodge in Crystal, New Mexico, and picturesque views of the surrounding area.

The Piñon Lodge, Crystal, New Mexico photograph album contains 49 photographs of log buildings and other structures of Piñon Lodge in Crystal, New Mexico, and picturesque views of the surrounding area. The album (18.5 x 29 cm) has string-bound black leather covers and is partially disbound. Individual photographs are affixed to black paper leaves, with sketches of desert scenes and captions drawn in the margins with white ink; on the verso of the front cover is a sketch of a man in Western wear on horseback, signed by W. E. Wells.

Images of include views from locations such as Bridge Canyon, Bonito Canyon, Canyon de Chelly, Canyon del Muerto, ruins in Chaco Canyon, Coal Canyon, the Four Corners Region, the Grand Canyon, Inscription Rock at El Morro (with a photograph of the Spanish inscription from 1620), the Arizona village of Kayenta, Monument Valley, Painted Desert, petrified forests, Rainbow Bridge, and the Venus Needle near Crystal. Pictures of Native Americans, mainly focusing on the Navajo, include views of Navajo hogans, a loom, and women on the steps of Piñon Lodge; the Hopi settlement of Hotevilla, with corn drying on the rooftops of pueblo dwellings; and a Zuni pueblo with Thunder Mountain in the distance. Opposite several photographs are pasted typescript copies of a Piñon Lodge advertisement which includes a sample trip itinerary and describes the region's attractions for camping and hiking.

Portraits of noted horses (35 x 27 cm) consists of 50 albumen print photographic portraits of horses on card mounts, each mount with printed text including physical description, pedigree, and current owner. All photographs have inscribed copyright statement, dated 1873 or 1874.

The album is half bound with morocco leather with a gilt title on cover and spind. Housed in a blue box.

The Princeton University photograph album consists of approximately 95 cabinet card photographs including portraits of professors and class members of the College of New Jersey (later Princeton University) class of 1883.

The Princeton University photograph album consists of approximately 95 cabinet card photographs including portraits of professors and class members of the College of New Jersey (later Princeton University) class of 1883. The album (21 x 30 cm) is fully bound in brown leather. Images include cabinet card portraits of professors and students, views of campus buildings and the Princeton cannon, a class of 1883 group portrait, group portraits of men and women on the lawn and indoors, and class member James Harlan wearing a football uniform. Of particular note is a photograph of James Johnson (d. 1902), and escaped slave and food vendor on campus and in the Princeton community, with a wheeled cart and basket over his arm.

Additional items include genre works, a reproduction of a print of Franz Josef I of Austria with his family, and a photograph of the SS Furnessia, all in cabinet card format. Inside the front cover there is also a montage of engravings of campus buildings as well as a photographic postcard of the Princeton Inn.

The Railroad construction photograph album contains approximately 300 photographs taken by an unidentified railroad engineer showing construction projects on the White River Railway, Gordon & Fort Smith Railway, Wabash Southern Railraod, and the Chicago, Burlington & Quincy Railway in Northern Arkansas, southern Illinois, and Missouri.

The Railroad construction photograph album contains approximately 300 photographs taken by an unidentified railroad engineer showing construction projects on the White River Railway, Gordon & Fort Smith Railway, Wabash Southern Railraod, and the Chicago, Burlington & Quincy Railway in Northern Arkansas, southern Illinois, and Missouri.

The album (18.5 x 28 cm) has black cloth covers, and many of the photographs have manuscript captions. Photographs of interest include images of engineers' and contractors' camps on the Antoine River in Arkansas and the Big Muddy River near Zeigler, Illinois, including interiors and exteriors of tent offices and living quarters; work parties (one of which includes a Japanese man identified as "K. Okora") relaxing and eating in camp, using survey equipment, building concrete piers, operating grading machinery, unloading equipment, laying track, and repairing bridges and tunnels, including sections damaged by flooding. Also of note is a photograph labeled "G. M. Callaway on his speeder, 1907," showing a man riding a Fairbanks velocipede railroad handcar. Several family photographs are also present, showing the unidentified engineer who created the album and his wife in their tent "home" at Antoine River, Arkansas, and with their young child at home in Chicago. Additional photographs include street views from Carthage and Kansas City in Missouri as well as Chicago and Benton in Illinois. Also present are three images of Wabash Southern Railway maps that are affixed to the inside of the back cover.

Railroad employees identified in photographs include: R.C. Larimore, Geo. Gentry, J. F. Reidnaar, Ernest Cameron, K. Okora, Carlos Dunn, Don Bradley, Braun, Wherry, Humber, Guy Hardin, Jno. P. Sanderson, Dick Armstrong, H. W. Perstrup, Geo. N. Lampley, Roy Watson, W. R. Smith, H. Rohmer, S. L. Morrow, F. Hammond, and C. L. Moorman.

The Randel family photograph album (15.5 x 17.25 cm) contains 45 snapshot photographs taken in New York and New Jersey. The album depicts many members of the Randel family, including members of the related Hawks, Slocum, Fort, Potter, and Wood families. These photographs focus on individuals, leisure, travel, and bodies of water in the area.

The Randel family photograph album (15.5 x 17.25 cm) contains 45 snapshot photographs taken in New York and New Jersey. The album depicts many members of the Randel family, including members of the related Hawks, Slocum, Fort, Potter, and Wood families. These photographs focus on individuals, leisure, travel, and bodies of water in the area. Each photograph is numbered to an unknown index; some include notes on how and when the photograph was taken and who is in the photo.

The album has photographs taken in multiple cities in New York state, including Oneida, Hoosick, Easton, Schuylerville, Narrowsburg, and Brooklyn. Various photos were also taken in the New Jersey cities of Jersey City and Eagle Rock.

The Ray A. Johnson photograph album contains approximately 100 photographs of scenes from western Wisconsin and Minnesota.

The Ray A. Johnson photograph album contains approximately 100 photographs of scenes from western Wisconsin and Minnesota. The album (18.5 x 30 cm) has black pebbled cloth covers. Many photographs show scenes around Johnson's home in Dunn County, Wisconsin, including a street view of West Knapp, friends in outdoor settings, school groups, the Eau Claire High School classes of 1899 and 1900, the high school women's basketball team, and the school fan drill team. Three photographs show extensive damage in New Richmond, Wisconsin, likely from the 1899 tornado. Minnesota-related photographs show Minnehaha Falls, Minnesota State Fair buildings, and Native American burial mounds in St. Paul. Also included are images of locomotives from the Chicago, St. Paul, Minneapolis and Omaha Railroad; the Knapp, Wisconsin railroad station; four men standing on railroad tracks with a handcar; track construction with a Bucyrus steam shovel at work; the interior of a sawmill; and two Booth Line steamers, Argo andS.B. Barker. Individual portraits include an older man with a Grand Army of the Republic medal sitting among American flags, and a young girl posed outdoors with her dolls and accessories. Ray Johnson is included in several photographs, alone and among friends and family members.

The Raymond family travel and portrait photograph album contains approximately 315 items (including photographic prints and illustrated postcards) related to the family, acquaintances, and travels of Francis J. Raymond, Jr., of St. Louis, Missouri.

The Raymond family travel and portrait photograph album contains approximately 315 items (including photographic prints and illustrated postcards) related to the family, acquaintances, and travels of Francis J. Raymond, Jr., of St. Louis, Missouri. The album (25 x 34 cm) has black cloth pages and is largely disbound. The majority of photographs have printed or typewritten captions. Many images are posed individual and group portraits of men, women, and children wearing fashionable clothing in a variety of settings, including on porches, patios, indoors, and beside trains. Several photographs appear to have been taken at the Antler Hotel in Colorado Springs, Colorado, over a number of years, including images taken of a children's party on the hotel lawn replete with a group of Native American performers wearing war bonnets and carrying drums. Francis Raymond, Jr., is also shown visiting Charles L. Raymond and family in Detroit, as well as the Keelyn family and other friends in Los Angeles and Riverside, California. Other images show a golf outing; numerous cats and other animals; attractions in Colorado Springs, including the Cheyenne Mountain Lodge; scenes from Hawaii, including colored commercial prints of Mt. Muana Loa and a portrait of "Phillip Abdul" playing a ukelele on a Honolulu beach; several photographic silhouettes; a beach scene at Northport Point, Michigan; and a cottage at Topinbee, Michigan. Laid in images include two photographs of children's parties in 1917 and 1919, and two family groups from the same period.

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

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

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

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

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

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

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

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

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

Algonquian Blackfeet

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

Anishinaabe (Odawa, Ojibwa, and Potawatomi)

Approximately 168 photographs in the collection pertain to the Anishinaabe.

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

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

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

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

Apache

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

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

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

Cheyenne

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

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

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

Crow (Apsáalooke)

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

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

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

Ho Chunk (Winnebago)

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

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

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

Kiowa

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

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

Modoc

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

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

Nez Percé (Nimiipuu)

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

Oto

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

Sac & Fox

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

Lakota and Dakota

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

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

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

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

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

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

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

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

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

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

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

Ute

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

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

Photo Albums & Portfolios

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

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

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

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

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

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

Other Items of Note

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This collection is made up of five photograph albums that belonged to Dr. Richard Root Smith of Grand Rapids, Michigan. From 1909-1915, Smith documented his family's trips to New England, Maryland, Europe, California, and Alaska, as well as his camping trip to the Lake Superior region.

This collection is made up of five photograph albums that belonged to Dr. Richard Root Smith of Grand Rapids, Michigan. From 1909-1915, Smith documented his family's trips to New England, Maryland, Europe, California, and Alaska, as well as his camping trip to the Lake Superior region.

The first volume (158 pages), titled "Automobile Trip from Grand Rapids to Boston and a Visit to Nantucket," concerns the Smith family's travels between July 25, 1909, and August 25, 1909. The album contains photographs (most of which include captions), brief typed diary entries about the family's daily travel and sightseeing activities, and maps. The Smith family drove their Oldsmobile from Grand Rapids, Michigan, to Boston, Massachusetts, by way of mid-Michigan, northern New York, Vermont, New Hampshire, and Maine, visiting locales such as Buffalo, New York; Niagara Falls; the Catskills; Mount Washington; Marblehead, Massachusetts; the Harvard University campus; and Nantucket. The photographs often depict natural scenery, city street scenes, and buildings, including private residences, writers' birthplaces, and hotels. Also included are informal outdoor portraits of the Smith family and their acquaintances, photographs of the Mount Washington cog railway, views of sailboats on "Marblehead Bay," pictures of golfers, and images of beaches and beachgoers along Marblehead Bay, and on Nantucket. Two loose photographs of Union Station in Grand Rapids, Michigan, are laid into the volume. The album's maps include printed route maps showing the locations of points of interest and hotels and printed maps highlighting the Smith family's travel routes.

Volume 2 (94 pages) contains photographs taken in Baltimore, Maryland; Grand Rapids, Michigan; and unidentified locations in or around 1910. Some images show members of the Smith family and the family's Oldsmobile. The pictures of Baltimore include views of a boardwalk, steamboats on the water, memorials, and a baseball game, as well as numerous street scenes. Other photographs show wintry wooded landscapes and a hot air balloon floating above a city street. A small group of images shows the interior of a pharmacy or chemistry lab. Photographs of Grand Rapids include views of the Blue Bridge and numerous homes in what is now the Heritage Hill district. Informal portraits include group portraits and a picture of a woman in riding goggles. The final pictures are interior views of a residential dining room and parlor; a Christmas tree is visible in one picture.

The third album (138 pages), also compiled in or around 1910, relates to the Smith family's visit to Europe. Many of the photographs show street scenes from Munich, Germany; Köln, Germany; and Antwerp, Belgium, as well as natural scenery in an Alpine region and along the Rhine River. One group of commercial prints shows scenes from a passion play. Several images focus on castles, towers, and other prominent structures, including the Köln Cathedral. Many of the later pictures were taken during the family's return from Europe on a large ocean liner, including a series of snapshots of a lifeboat drill. One picture shows a large crowd gathered on a Red Star Line pier.

Volume 4 (112 pages) contains photographs, ephemera, and brief typed diary entries about the Smith family's trip to California and Alaska from June 20, 1911, to August 1, 1911. The family first traveled to the Southwest, and the album contains photographs of New Mexico towns and natural scenery in New Mexico and Arizona; included are a colored panorama and other photographs of the Grand Canyon. Other groups of images show Los Angeles parks and street scenes, the Pacific Ocean, and landmarks in Yosemite National Park. After visiting California, where Dr. Richard Root Smith attended medical conference meetings, the Smith family traveled from Washington to Alaska on the steamerQueen ; their photograph album includes pictures of the Muir glacier, Alaskan scenery, Alaskan towns, Alaskan natives, and landmarks such as totem poles. Several images show tourists in rowboats on icy waters, and some were taken in British Columbia and Alberta during the family's railroad journey home. Several ephemera items are pasted into the volume, including commercial collections of colored images of Adolphus Busch's gardens in Pasadena, California, and images from Alaska; a small railroad map showing Atchison, Topeka, and Santa Fe Railway routes; a colored illustration of a totem pole, clipped from an unknown source; a booklet about Alaskan Indian mythology; and an itinerary and passenger list for theQueen .

The final volume (97 pages) pertains to a camping trip that Dr. Richard Root Smith took to the Lake Superior region in 1915. Most of the pictures are views of woodland scenery and of the campers' tents and activities, often involving fishing from the shore or in canoes. Some images focus on waterfalls, and one group shows a moose swimming in a small lake. A few of the photographs are printed out in shapes such as a pear, a fish, and a leaf, and a small number are colored. This volume contains a metal apparatus used to adjust its binding.

The Ritta S. Murphy, Smith College photograph album contains 86 photographs and 37 pieces of ephemera related to Smith College students, environs, and activities between 1898 and 1900.

The Ritta S. Murphy, Smith College photograph album contains 86 photographs and 37 pieces of ephemera related to Smith College students, environs, and activities between 1898 and 1900. The album (? x ?) has black cloth covers tied with a red silk cord and a detached back cover and is disbound. Photographs of interest include images of the Ivy Day procession of 1900; President William McKinley and Smith College President L. C. Seelye in a horse-drawn carriage; exteriors and interiors of campus buildings; Smith students on the golf course; a Smith basketball game in the gymnasium; and scenes of Smith students and young men canoeing on "Junior Prom Day, 1900." Ephemera items include programs from musical and theatrical performances, railroad and sporting event ticket stubs, a dance card, golf score cards, and newspaper clippings describing Smith College events and Ritta Murphy's "debut" tea party.