Collections

The Allen family photograph album contains carte-de-visite and tintype portraits of various individuals, including members of the Allen family of Mayville, Michigan.

The Allen family photograph album (13cm x 10cm) contains 22 cartes-de-visite, 13 tintypes, one lithograph, and one printed card. The cartes-de-visite and tintypes are studio portraits of men, women, and children. Most items show a single person, though some, such as a woman and a young baby, were photographed in pairs. The lithograph depicts a young girl holding a dog. An educational card, one of a series of "Little People Lesson Pictures" issued by the American Sunday-School Union (volume IV, number 1, part 5), is laid into the volume. The card has a colored print of a Biblical scene entitled "Beginning of the Hebrew Nation," and the reverse side has questions and answers about Abraham's journey to Canaan. The cartes-de-visite were made by photographers in locations such as Imlay City, Michigan; Owosso, Michigan; and Peterborough, Ontario. The volume's covers are leather, with a Maltese gold-embossed cross stamped in relief on each side.

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

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

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

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

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

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 items including photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection.

The Mark A. Anderson collection of post-mortem photography contains approximately 1068 photographs, ephemeral items, documents, manuscripts, printed items, and realia pertaining to the visual history of death and bereavement between the 1840s and the 1970s. Photographs make up the bulk of the collection. Mr. Anderson assembled this collection from dealers, antique shops, and individuals. His motivation stemmed from a desire to document and to provide historical perspective on various end-of-life practices which, in the 20th century, fell into taboo and disfavor.

The majority portion of the photographic items in the collection are neither dated, nor attributed, although approximate dates can often be determined by when particular photographic formats were in use (see timeline at www.graphicatlas.org.). Consequently, the materials have been organized first to accommodate their sizes, formats, and preservation needs, and second to reflect major subject themes present, though scattered, throughout the entire collection. These non-mutually exclusive subjects are as follows:

• Post-mortem portraits
• Post-mortem scenes
• Funeral tableaux
• Funerals and funeral processions
• Floral arrangements and displays
• Memorial cards and sentimental imagery
• Cemeteries and monuments
• Funeral industry
• Mourning attire
• Unnatural death

The first three subjects - post-mortem portraits, scenes, and funeral tableaux - all depict the recently deceased, and so fall into the narrowest definition of a post-mortem photograph. Their distinction into three separate subjects is a partly arbitrary decision, made to break up what would otherwise be a large and unwieldy grouping of photos, but also to roughly shape the order of the collection (post-mortem portraits without décor tended to date earlier chronologically than broader, beautifying scenes).

Post-mortem portraits:

The post-mortem portrait photographs, comprising 251 items in the collection, depict the bodies of dead family members and friends. These images show the deceased, sometimes posed with living family members, and for the most part do not include elements of a larger scene, such as floral arrangements, banners, or other décor.

These portraits include the earliest photographic images in the collection, including 28 cased daguerreotypes, ambrotypes, and tintypes. 78 cabinet card photographs date from the late 1860s to around the turn of the century. Among many notable cabinet cards are two images of Frances Radke, taken and retouched by R. C. Houser, showing her image before and after Houser's post-capture work (3.1 and 3.2). Also of note is a framed crayon enlargement of infant Adelaide Banks by photographer/artist Edward Stuart Tray (26) and a post-mortem carte de visite of an unidentified African American infant taken by photographer S. P. Davis of Danielsonville, Connecticut (4.282u).

Post-mortem scenes:

The post-mortem scene photographs, numbering 155 items in total, are similar to the portraits described above, except that they show the deceased as part of a larger environment, whether in a private home, a funeral home, or out-of-doors. Most of these views are mounted photographic prints from the 1880s to the early decades of the 20th century, frequently centering on the corpse, lying in a casket or coffin, amidst an abundance of floral arrangements, banners or flags, family members or friends, and/or personal belongings. Their caskets are often lined with white cloth.

Many of these images have unique qualities; several examples illustrate the variety of postmortem scenes in the collection. Six photographs by W. Jakubowski and Co. and Jos. Ziawinski, of Detroit, Michigan, include five wedding photographs (of the bride and groom, bridesmaids, and family members) and one post-mortem scene of the wife. She appears to have died within a short time following the marriage; the funeral home scene image contains one of the wedding photographs and a banner marked "Dearest Wife" (18.5-18.10). One mounted photograph depicts a dog, laid on linen, in a homemade casket (14:17). The collection also contains examples of different persons on display in the same funeral home/parlor (e.g. 18.1-18.4). A set of two cabinet card photos of a child in a buggy is accompanied by one of the buggy's metal lanterns (23.1-23.3). Also of note is a photogravure of the 1888 painting "Requiescat" by British artist Briton Rivière showing a dog seated next to its deceased owner (25.2).

Funeral tableaux:

The collection's 35 funeral tableaux photographs show the deceased in an open casket or coffin, typically in front of a church or homestead, with a posed assembly of funeral attendees or mourners. They often show a large group of family and friends, and so are frequently large format prints. Group portraits of this sort were occasionally framed and displayed in the home. Most of the examples in this collection are large prints (many of them mounted), with smaller examples, including a real photo postcard, two snapshots, and one cabinet card. Particular items of note include a framed tableau on the steps of the Church of The Descent of The Holy Ghost in Detroit by Thomas Hoffman (27), a photomontage image of a nun's funeral (28), two tableaux scenes by F. A. Drukteinis taken outside of the same church in Detroit during different seasons and involving the same family (20.12 and 20.15), and three related tableaux scenes (two mounted and one unmounted) involving a presumably Hungarian family that were taken outside of what appears to be a Catholic church in Cleveland, Ohio, during three different funerals (20.16a-20.16c).

Funerals and funeral processions:

The 70 items depicting or pertaining to funeral gatherings show various aspects of the movement of the deceased from the home or funeral home to the cemetery and funeral and burial ceremonies. This group is comprised of real photo postcards (22 items), snapshots (13 items), and a variety of other formats. Examples include an albumen print depicting the Plymouth Church decorated for Henry Ward Beecher's funeral in 1887, and snapshot and postcard photographs of a burial at sea.

Floral arrangements and displays:

Additional documentation of funeral decoration may be found in the collection's 176 still life portraits of floral arrangements and other decorations. A portion of the floral display photographs include pre- or post-mortem photos of the deceased either incorporated into the display or added to the image after printing. One particularly fine example is a large format photograph of a floral arrangement for the funeral of Joshua Turner Mulls; the display included a cabinet card photo of Mr. Mulls and a modified enlargement of the cabinet card. Accompanying the floral arrangement photograph is the cabinet card depicted in the display, with artist's instructions for coloring the enlargement (22.1-22.2).

Memorial cards and sentimental imagery:

The collection includes 105 memorial cards and ephemeral items bearing sentimental imagery. Memorial cards were created as tributes, often displaying birth dates, death dates, and other information about the deceased. Many of these cards include border designs and some bear photographs of the departed. Black-fronted memorial cards gained popularity from 1880 to 1905. Of many interesting examples, the collection includes two examples of memorial cards which haven't yet been personalized (4.306-4.307) and two reflecting World War I-related deaths (4.316 and 4.317). Materials with sentimental imagery include items such as a photograph of an illustration entitled "Momma is in Heaven," a memorial book dedicated to Olive C. Partridge in 1897, and other items.

Note: an advertisement for the Memorial Card Company of Philadelphia is located in the 'Funeral Industry' section of the collection (14.35).

Cemeteries and monuments:

61 photographs, printed items, and realia explicitly pertain to cemeteries, burial markers, or monuments. Some of the cemeteries and monuments are identified, such as the Garfield Memorial at Lakeview Cemetery in Cleveland, Ohio (4.1-4.3). The collection includes examples of cemetery-related realia, including an ovular, porcelain headstone photograph (pre-mortem) of the deceased.

Note: cemeteries may be seen as background for many photographs throughout the collection.

The funeral industry:

The Mark A. Anderson collection of post-mortem photography holds a diverse selection of photographs, ephemera, and printed materials related to the business aspects of death, dying, and bereavement. This group contains around 153 items overall, including receipts (1896-1956); various types of advertising materials (including an undertaker's advertising card, a cabinet photograph of the Arbenz & Co. storefront advertising undertaking as a service, fans from a church and the A. C. Cheney funeral home, a thermometer, and other items); and 118 coffin sales photographs (illustrating a massive selection of different casket models offered by the Boyertown Burial Casket Company of Pennsylvania).

Two photograph albums, that of Clarence E. Mapes' furniture store and funeral home and that of the Algoe-Gundry Company funeral home, provide visual documentation of a rural and an urban funeral home (respectively) in Michigan in the first half of the 20th century:

The photo album and scrapbook of Clarence E. Mapes' furniture store and funeral home in Durand, Michigan, dating from ca. 1903-1930, contains interior and exterior photographs of the furniture and undertaker portions of the shop. The album includes photographs of casket showroom display mechanisms; an example of a "burglar proof" metallic vault; a posed photo of the embalmer standing over a man on the embalming table; images of carriage and motorized hearses; business-related newspaper clippings; and various family and vacation photographs. Several prints, dated August 1903, appear to depict the aftermath of the Wallace Brothers Circus train wreck on the Grand Trunk railroad at Durand. Among these photographs are carriage hearses, a horse-drawn cart carrying ten or more oblong boxes (for transportation and perhaps burial of victims of the wreck), a man standing in an alleyway near three stacked boxes, and a large group of persons standing in a largely unearthed section of a cemetery. The Mapes album is accompanied by a C. E. Mapes Furniture advertising fly-swatter.

The Algoe-Gundry Company album dates from ca. 1924 to 1960 and contains (almost exclusively) 8"x10" photographs of this Flint, Michigan, funeral business. The album includes images of the exterior and interior of Algoe-Gundry buildings, hearses, ambulances, and billboard advertisements.

One album was produced ca. 1939 by the Central Metallic Casket Co. of Chicago, Illinois. Titled "Caskets of Character," the album contains images of patented (or soon to be patented) casket designs as well as a printed cross-sectional view detailing the company's "Leak-Proof" Separate Inner Sealer.

Also of interest is funeral director's license granted by the Michigan State Board of Embalmers and Funeral Directors to Vincent J. George of Fowler, Michigan, in 1938. (25.1)

Mourning attire:

In America, mourning attire tended to follow trends set in Europe. The bereaved wore mourning clothing according to current fashion trends and societal expectations. Mourning clothing styles, often dark-colored and somber, depended on how close the mourner was to the deceased and local societal expectations. Seventeen portrait photographs show men and women wearing mourning attire without the deceased present. This group includes cabinet cards, a 1/9 plate ambrotype of an adult woman, two tintypes, and one carte-de-visite.

Note: persons wearing mourning attire may also be found scattered throughout the other sections of the Mark A. Anderson collection. While most are concentrated in the funeral photographs, mourners are also present in postmortem portraits, postmortem scenes, and cemetery photos.

Unnatural death:

43 photographs (mostly snapshots) depict "unnatural deaths," deaths not caused by age or naturally occurring disease, such as suicides, accidents, murders, and war. The larger portions of the snapshots are mid-20th century police photographs of crime or accident scenes.

Nine Indiana State Police photographs show a train-automobile accident; a group of eight unmarked photos depict the body of woman, apparently violently murdered, at the location of her death and in a morgue; 14 are of a man struck down, beneath a train; two are of a rifle suicide; and the others are of varying accidents. One World War I-era real photo postcard appears to show a man who was shot dead in a foxhole. A stereoscopic card by photographer B. W. Kilburn shows the burial of Filipino soldiers after the Battle of Malolos, Philippine Islands [ca. 1899].

Note: The photograph album/scrapbook of the Clarence E. Mapes furniture and undertakers shop contains several photographs of what appear to be the aftermath of the Wallace Brothers Circus train wreck, Durand, Michigan 1903 (see above description in the 'Funeral Industry' section of this scope and content note).

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

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

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

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

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

The Washington & Jefferson College Student album contains carte-de-visite portraits of Jefferson College students and various other individuals, many of whom are identified. Several of the college students belonged to the fraternity Delta Tau Delta. Many photographs originated in Washington, Pennsylvania; Canonsburg, Pennsylvania; and Ann Arbor, Michigan.

The Washington & Jefferson College Student album (13cm x 18cm) contains 79 cartes-de-visite, 1 tintype, and 1 lithograph. The original brown leather cover, now detached, has a partially raised geometric design and two metal clasps; a floral design is carved into the sides of the pages. Most items are individual portraits of young men, though a few pictures of women and children are also present, including a group portrait of four women and three men. One carte-de-visite has a decorative border printed directly on the card backing.

Many of the individuals pictured signed their photographs and wrote brief notes; several of the men photographed in Washington and Canonsburg, Pennsylvania, mentioned their membership in the Delta Tau Delta fraternity. A large number of photographs are attributed to George C. Gillett of Ann Arbor, Michigan; the album contains a portrait of University of Michigan professors Alonzo Benjamin Palmer, Samuel Glasgow Armor, and Corydon L. Ford; and a lithograph of the University of Michigan campus in Ann Arbor. A number of the other portraits taken in Ann Arbor are signed by men who took courses in medicine at the University of Michigan during the 1860s. The volume includes one portrait of a young child that may have been taken postmortem and one carte-de-visite with artificial coloring.

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

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

The Traveling circus photograph album contains approximately 70 photographs plus 6 additional loose images related to traveling performers.

The Traveling circus photograph album contains approximately 70 photographs plus 6 additional loose images related to traveling performers. The album (14.5 x 21 cm) has black paper covers, and some photographs include handwritten captions. Images include group portraits of a dancing group called "Philip's Girls"; performers in costume for a performance of Uncle Tom's Cabin by Mason Bros.; the Mason Bros. band outside of a circus tent; the interior of a tent with folding chairs; a makeshift stage set up in a grocer's storefront; members of "Baylors Comedians"; the exterior of the Waverly Hippodrome labeled, "Empire Players, Lansing Park Theatre, 1917"; and people relaxing at the beach posing with swimwear and automobiles. One loose image (mount 21 x 26 cm) shows a group of six performers in costume including a clown, a devil, a cowboy, and a man in blackface standing in front of a horse-drawn wagon.

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

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

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

The Wabash (Ind.) family photograph albums contain tintype and carte-de-visite studio portraits of men, women, and children in Indiana, Ohio, and Pennsylvania in the 19th century.

The Wabash (Ind.) family photograph albums (both 14cm x 10cm) contain tintype and carte-de-visite studio portraits of men, women, and children in Indiana, Ohio, and Pennsylvania in the 19th century. The first volume contains 19 tintypes and five cartes-de-visite, and the second volume contains 16 tintypes and nine cartes-de-visite; an index of subjects in included at the back of the second album. Some of the tintypes have raised decorated borders on their cardstock frames, and many include hand coloring. Most items are individual portraits, though some men and women posed in pairs. One man appears in a Masonic sash and apron. Each album has a brown leather cover with a raised geometric design and floral patterns stamped in gold.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The Lantern slides and glass plate negatives collection consists of approximately 1,260 magic lantern slides, glass plate negatives, and glass plate transparencies from commercial and non-commercial sources documenting a wide range of subjects.

The collection contains a total of 33 boxes and is loosely organized by topical groupings. The following list references individual boxes and the general nature of their contents.

• 10 x 12.5 cm glass negatives of views of Ann Arbor, Michigan, ca. early 1900s taken by an unidentified photographer. Includes views of several University of Michigan buildings, hospitals, fraternity houses, and private residences.

• Sixteen 8 x 10 cm cardboard-mounted slides showing posters for upcoming films and local product advertisements intended for use in movie theater intermissions. Producers include Excelsior Illustrating Co., Inc. and Photo Repro Co., Inc. Identified films include High Steppers (1926); The Blind Goddess (1926); Without Mercy (1926); Chickie (1925); Stop, Look and Listen (1926); West Point (1927); Pals First (1926); Ella Cinders (1926); Paying the Price (1927); The Avalanche (1919); and Turn to the Right (1922).
• Ten 7.5 x 7.5 cm slides documenting damage caused by the 1906 San Francisco earthquake (two of the slides are broken).

• 10 x 12.5 cm glass negatives including scenic views of fields, woods and towns, Canterbury Cathedral, ships in harbor, New York City streets, Coney Island beaches, street merchants, and children interacting with dogs (often humorously). All or some the images were produced by photographer William S. Pearsall in 1906 or earlier.

• Twenty-two 8 x 10 cm cardboard-mounted slides (some damaged) showing motion picture posters intended for display during movie theater intermissions with play dates handwritten in space at bottom. Dates listed range from 1918 to 1929. Identified films include The Devils Circus (1926); The Love of Sunya (1927); The Bridge of San Luis Rey (1929); Mademoiselle Modiste (1926); Classified (1925); Chang (1927); The Demi-Bride (1927); The Swell-Head (1927); Steele of the Royal Mounted (1925); The Voice of the City (1929); His Supreme Moment (1925); Monte Carlo (1926); An Old Fashioned Boy (1920); Lovers in Quarantine (1925); Riders of the Dawn (1920); Paid Back (1922); The Breaking Point (1921); and Gypsy Blood (also named Carmen - 1918 in Germany, 1921 in U.S.A.)
• Seven 8 x 10 cm hand-colored slides showing scenes from the popular book The Bad Boy and His Pa by George W. Peck produced by the Chicago Projecting Co. in 1904. Tableaux are carefully staged and elaborately tinted.

• Includes 8 x 10 cm slides showing scenes from The Bad Boy and His Pa by the Chicago Projecting Co. Other identified films include Babe Comes Home (1927); Figures Don't Lie (1927); and The Danger Girl (1916).

• Twenty-six 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. One item of particular note includes a notice to female patrons that they do not need to remove their hats if they are seated in the women’s section. Identified films include The Taxi Dancer (1927); Square Crooks (1928); The City Gone Wild (1927); Too Much Money (1926); The First Night (1927); Broadway Nights (1927); Rainbow Riley (1926); The Wizard (1927); Vamping Venus (1928); The People vs. Nancy Preston (1925); Lovely Mary (1926); Rookies (1927); The Swan (1925); The Cohens and Kellys (1926); His People (1925); and My Official Wife (1926).

• Twenty-three 8 x 10 cm cardboard-mounted movie theater slides related to coming attractions or local products. Identified films include The Phantom Police (1926); The Testing Block (1920); The Brute Master (1920); The Cowboy Ace (1921); The Song and Dance Man (1926); His Brother's Keeper (1921); Private Izzy Murphy (1926); The Wanderer (1925); Eve's Leaves (1926); Good and Naughty (1926); It's The Old Army Game (1926); Vanishing Trails (serial, 1920); Don't Shoot (1922); The Whirlwhind of Youth (1927); The Shield of Honor (1927); Across to Singapore (1928); Naughty But Nice (1927); The Barrier (1926); For The Love of Mike (1927); The Dark Angel (1925); Keeping Up With Lizzie (1921); and Top O' The Morning (1922).
• Seven 8 x 10 cm slides (mostly duplicates) related to the Yale “Pageant of America” series showing damage in the aftermath of World War I.
• One 8 x 10 cm slide showing an ancient Egyptian tablet depicting battle.

• Twenty 8 x 10 cm slides documenting various activities in the town of Fitchburg, Massachusetts, around the turn of the 20th-century, including a hot-air balloon excursion and a fire engine race, along with other local scenes.
• Thirty-nine 8 x 10 cm slides showing scenic views (some hand-colored) in New Jersey and New York between 1896 and 1907. Most are attributed to Dr. J. T. Morehouse, but other noted contributors include the Charles Beseler Co., Dr. Ferdinand G. Kneer, William Archibald, and George W. Lamoreux. Items of particular interest include an aerial view of lower Manhattan; a map of New Jersey showing holdings of Esso; and a hand-colored view of a high railroad bridge in Portage, New York.

• Twenty 8 x 10 cm slides by Ann Arbor photographer George R. Swain documenting select manuscripts and maps from the William L. Clements Library.
• One 10 x 12.5 cm glass negative view of the Clements Library exterior.
• Seven 8 x 10 cm slides of outdoor scenes in Alaska and California from around 1900.
• Two 8 x 10 cm copy negatives of elaborate unidentified interiors.

• Six 8 x 10 cm slides of scenes in California and British Columbia. Includes view of a redwood logging train.
• Ten 8 x 10 cm glass negatives of scenes in British Columbia, mountain views, and photos of maps.
• Four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library.
• Nine 8 x 10 cm slides showing people and places (notably Firle Place) in the United Kingdom during the 1920s.

• Six 8 x 10 cm slides by Ann Arbor photographer George R. Swain showing exterior and interior views of the William L. Clements Library in the 1940s.
• Twenty-four 8 x 10 cm slides by Ann Arbor photographer George R. Swain of items from the William L. Clements Library. Includes an image of materials from the Thomas Gage papers stored in one their original document chests.

• Five 8 x 10 cm slides showing unidentified locations (possibly in Alaska) produced by the Seattle, Washington studio of Asahel Curtis.
• Four 8 x 10 cm slide reproductions of paintings.
• Three 8 x 10 cm slides of miscellaneous content.

• 8 x 10 cm glass negatives documenting a 1728 French translation of an earlier memoir by Jerome Lobo regarding attempts to convert Ethiopians to Christianity. An enclosed note says slides were for “a Prestor [sic] John talk.”

• 8 x 10 cm slides from an extensive educational series on lumbering processes and techniques produced ca. 1910. Images detail the production of railroad ties, including loggers’ methods of shaping each piece with their axes, and the proper method of stacking ties. Most of these views appear to be from Michigan’s lower peninsula, but one slide is from Wyoming in 1910.

• 8 x 10 cm slides showing various stages in logging operations and mill processes in states from Maine to California. Includes one hand-colored view of a mill pond in Virginia and a map of the U.S. that renders the size of each state relative to its timber resources.

• 8 x 10 cm slides showing production stages for treenails and stulls. Also includes images of various types of mill saws in marketing photos as well as working mills.

• 8 x 10 cm slides primarily related to pulp production with views showing logging sites, stages of the milling process, and specific machinery used. Includes images showing both ox-drawn and wooden-wheeled logging wagons.

• 8 x 10 cm slides showing portable mills set up near logging sites and log flumes in various stages of construction and operation. Several images of elaborate flume constructions are present.

• 8 x 10 cm slides related to fir logging, possibly in Sitka, Alaska. Also present are a couple views showing treenail production.

• 8 x 10 cm slides showing locust logging, log loaders, and lumber yards.

• 8 x 10 cm slides showing different types of log loaders as well as maps of the U.S. highlighting population and timber resources.

• 8 x 10 cm slides related to the Lidgerwood (written as “Ledgerwood” on slide labels) logging system which made extensive use of winches and pulleys. The Lidgerwood Company was instrumental in building the Panama Canal and later developed machinery for the logging industry. Also present are more images of log loaders and diagrams/photos of mill machinery.

• 8 x 10 cm slides related to the Lidgerwood system as well as views of logging and mill operations in several states.

• 8 x 10 cm slides showing pull boats towing log rafts and various logging and milling operations.

• 8 x 10 cm slides showing finished lumber products being shipped by boat, rail, and wagon as well as images related to shingle production.

• 8 x 10 cm slides showing steps in the production of shingles, stulls, and poles as well as steps in paper production, including micro views of linen and cotton paper fibers.

• Twenty-eight 8 x 10 cm slides showing stages in paper production as well as views of portable mills and flumes, especially flume dumps.
• Ten 10 x 12.5 cm glass negatives by unidentified photographer ca. 1902 related to estate in Berlin, Maryland nicknamed “Anchuha.” Includes snapshots of house and family members.

• Despite the separate accession number, these lumbering slides appear to be from the same educational series contained in other boxes. The topics covered by the 8 x 10 cm slides in this box include agricultural use of logged spaces, large mill operations, redwood logging, steam tractors, splash dams and charcoal kilns.

• 8 x 10 cm slides covering log jams, barrel staves and cooperage, flumes, big tree logging, and maps of national forests. Non-Michigan locations also represented. Includes color slide by Asahel Curtis showing Douglas fir timbers on railroad car.

• 8 x 10 cm slides showing pole roads, agricultural use of logged land, large mills, machinery used in distillation and cooperage, logging of wide range of individual tree species. Non-Michigan locations also represented.

• 8 x 10 cm slides showing tramways, pull boats, portable mills, geared locomotives, and skidways as well as a graph comparing regional production. Nine shattered slides are present.

• 8 x 10 cm slides showing gasoline and steam skidders, lumber yards, motor trucks, and Arizona tree species. One image of particular interest shows an early Kelly truck with a full load of logs and an African American driver.

• Eight 8 x 10 cm glass negative copies of photos showing scenes in Alaska, including the Muir Glacier.
• Four 8 x 10 cm slide views of British Columbia, possibly from a Canadian Pacific Railroad car.
• Three 12.5 x 18 cm glass negative self-portraits by Charles P. Steinmetz, ca. 1904/5.
• One 12.5 x 18 cm glass negative titled “Girl on Bicycle”

This photograph album contains carte-de-visite and tintype portraits of unidentified individuals taken primarily in Ionia and Clinton Counties, Michigan, in the mid- to late 19th century.

This photograph album (15cm x 12cm) contains 27 carte-de-visite and 15 tintype portraits of unidentified individuals taken in the mid- to late 19th century. Only one subject, Mr. J. C. Sessions, is identified. The studio portraits mostly show adult men and women of various ages, sometimes photographed in couples and, on two occasions, with children. A few portraits of individual children are included, including two of a young boy who was also photographed at a later date. The album has a green cover with a raised geometric design; a metal clasp that was once affixed to the volume is no longer extant.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The Western travel and mid-Michigan photograph albums (2 volumes, each 23 x 36 cm) contain a total of 417 photographs primarily pertaining to travel in the western U.S. and the mid-Michigan region, likely taken by a member of the Charlesworth/Abraham family of Flint, Michigan.

Volume I: Western photographs include views of Yellowstone, the Yosemite Valley, cliff dwellings with pictorgraphs, a petrified forest, hiking across a glacier, buildings of the Panama-Pacific Exposition, the Saltair resort in Utah, cliff dwellings, the California coast, a bull fight, Native Americans selling pottery on the street, California houses, and a concert band dressed in kilts. Also included are single views of a city waterfront, possibly St. Paul, Minn., Milwaukee grain docks, and the Minnesota State Capitol. Album contains 232 images. Photographs lack captions.

Volume II: Mid-Michigan photographs show chiefly outdoor activities and rural scenery, including house and barns, country roads, hunting and fishing trips, boating, swimming, hunting dogs and game birds, a circus parade in downtown Flint, farm animals and cow-milking, and picnics. Nine photographs show a collection of bird amulets and carved relics, some belonging to the Silas Collins collection at the Flint Public Library. Also shown are burnt-out ruins of the Michigan School for the Deaf and postal carriers in Flint with sleds and wagons piled high with Christmas packages. Several photographs feature automobiles, including an overturned auto in the street being contemplated by a young man in swimming costume with handwritten caption, "Berston killed;" automobiles stuck in potholes and rescued by horse-teams; filled with hunting dogs; and a Buick Model C burnt out and restored. Michigan locations include: Flint, Prescott, Stiles Lake, Long Lake, Houghton Lake, Rifle River, Ortonville, and Skinner Lake. Identified individuals include: W.B. Ormsbee, A.G. Abraham, Herb Mitchell, Howard Casler, E. Rockafellow, Luella Charlesworth, John Brewer, Emma Abraham, Ernest Oldfield, M.B. Shirk, William Somerville, Hattie Barker, George Dell, Gert Fellows, Glenn Jones, Edgar Ries, John Ries, George Havers, John Wildanger, George Havers, Clyde Baldwin, George Frye, Edgar Rice, Chancey Straber, Elsie Caverly, Clarence Caverly, Leo & Mrs. Boomhower, Bud & Mrs. Evans, Ed Brown, Llloyd & Mrs. Algoe, Alice Charlesworth, Anna Charlesworth, George Holmes. Album contains 185 images. Most photographs include manuscript captions on verso.

Albums housed in three-part wraps with blue cloth spines.

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

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

The Tully Lake Park and vicinity photograph album consists of 25 photographs showing scenes from Tully Lake Park, an educational retreat in the Finger Lakes Region of New York.

The Tully Lake Park and vicinity photograph album consists of 25 photographs showing scenes from Tully Lake Park, an educational retreat in the Finger Lakes Region of New York. Images include views of the Tully Lake Park Hotel, vacationers in front of resort cottages, a tent encampment, lakeside views, rowboats, a horse-drawn carriage decorated with bows, three me nwith musical instruments set up to play on a veranda, and crowds gathered at a lakeside clearing and under an open-air shelter. The album (26 x 33 cm) is half bound with leather.

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

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

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

The South Dakota photograph album contains approximately 110 photographs showing scenes in and around Chamberlain, South Dakota.

The South Dakota photograph album contains approximately 110 photographs showing scenes in and around Chamberlain, South Dakota. The album (26 x 33 cm) has black cloth covers and most images have manuscript captions. Four loose photographs inside the front cover include an image of a storefront of the "Lanphere Land Company"; a man with several girls on a parade float with the sign "The Master-Builder"; a building being constructed; and a view of Chamberlain replete with tipi encampments and grazing horses in the foreground. Subsequent images of interest include street views of Chamberlain, landscape views, shacks representing mining claims, the interior and exterior of a tent restaurant, railroad trains and bridges, picnickers, teams of surveyors and railroad workers, and buildings of the "Chamberlain Indian School."

The Marble, Colorado photograph album contains approximately 55 photographs related to industry built around the marble quarry and stone works of Marble, Colorado.

The Marble, Colorado photograph album contains approximately 55 photographs related to industry built around the marble quarry and stone works of Marble, Colorado. The album (20 x 28 cm) has brown leather covers and is partially disbound. Numerous images have manuscript captions on their versos. Images of interest include views of the marble quarry; the town of Marble; the trolley used to move marble slabs; the school and cottages made for the workers; the saw mill, finishing mill and planer; power generators; a 3-photo bird's-eye view of the marble deposit and quarry; a 2-photo panorama of the mill and village; the lathe making marble columns; a cave for mining called the Wilson Opening; and elements of the Denver-based U.S. Post Office and Federal Building (now the Byron R. White U.S. Courthouse) and Cheesman Park Memorial being constructed. The last photograph of the album bears the stamp of Arthur Luckhaus.

The United States Signal Corps Photographic Collection contains approximately 1,630 photographs of the American Expeditionary Forces taken by the Signal Corps during WWI throughout the Western Front. The collection is divided into three volumes and one box, all loosely arranged by topic. General topics include destruction, battlefields and trenches, artillery, monuments, and postwar celebrations.

The United States Signal Corps photographic collection contains approximately 1,630 photos (many of which are duplicates) of the AEF taken by the Signal Corps during WWI throughout the Western Front. The collection is divided into three volumes and one box, all loosely arranged by topic. General topics include the AEF, warfare destruction, battlefields and trenches, artillery, monuments, and postwar celebrations.

Numerous photographs have handwritten and typewriter captions on the back, often stating location and subject matter. Also found on the back are different stamped inscriptions, including "Passed as Censored."

Many photos have an alpha-numeric code handwritten on verso that corresponds to the Catalogue of official A.E.F. Photographs. Washington, D.C.: Government Printing Office, 1919, which can be found online through the Internet Archive.

Volume 1 contains approximately 270 photographs taken in France, Germany, Belgium, and the U.S. The bulk of these photos are of monuments in Paris, the Palace of Versailles, Rhineland-Palatinate, and unidentified rural areas depicting farmland and civilian life.

• Paris, France
• Washington, D.C.
• Château-Thierry, France
• Bacharach, Germany
• Vincennes, France
• Fontainebleau, France
• Dordogne, France
• Pierrefonds, France
• Bad Neuenahr-Ahrweiler, Germany
• Bendorf, Germany
• Bernkastel-Kues, Germany
• Andernach, Germany
• Altenahr, Germany
• Pont-à-Mousson, France
• Saint-Léger, Belgium
• Humes-Jorquenay, France
• Montsec, France
• Varennes-en-Argonne, France
• Joué-lès-Tours, France
• Soissons, France
• Brieulles-sur-Meuse, France
• Vaux-lès-Palameix, France

Volume 2 contains approximately 270 photographs taken in France, Germany, and Belgium. Much of these photos relate to the Meuse-Argonne Offensive, destruction (both urban and rural), casualties, battlefields and trenches, artillery, cemeteries, various AEF training schools, naval operations, and prisoners.

• La Ferté-sous-Jouarre, France
• Mayschoß, Germany
• Forest of Argonne, France
• Brieulles-sur-Bar, France
• Les Petites-Armoises, France
• Varennes-en-Argonne, France
• Exermont, France
• Chatel-Chéhéry, France
• Étraye, France
• Grandpré, France
• Cochem, Germany
• Pinon, France
• Saint-Remy-la-Calonne, France
• Montfaucon-d'Argonne, France
• Berzy-le-Sec, France
• Dannevoux, France
• Romagne-sous-Montfaucon, France
• Saint-Quentin, France
• Soissons, France
• Ypres, France
• Hooglede, France
• Mouzon, Ardennes, France
• Château-Thierry, France
• Verdun, France
• Metz, France
• Rémonville, France
• Juvigny, France
• Péronne, France
• Chaudun, France
• Chavignon, France
• Moirey-Flabas-Crépion, France
• Reims, France
• Cambrai, France
• Neuvilly, France
• Vaux-Champagne, France
• Haudiomont, France
• Paris, France
• Koblenz (Coblenz), Germany
• Oberwinter, Germany
• Mont-Saint-Michel, France
• Chamonix, France
• Nanteuil-lès-Meaux, France
• Lucy, France
• Thiaucourt-Regniéville, France
• Seicheprey, France
• Nonsard-Lamarche, France
• Colombey-les-Belles, France
• Épieds, France
• Boureuilles, France
• Beaumont, France
• Dormiers, France
• Bertricamp, France
• Bois de Hesse, France
• Gondrecourt-le-Château, France
• Langres, France
• Le Charmel, France
• Villers-Bretonneux, France
• Saint-Aignan, France
• Landreville (Ardennes), France
• Imécourt, France
• Nantillois, France
• Stenay, France
• Butgnéville, France
• Le Mort Homme, France
• Saint-Maur-des-Fossés, France
• Gland, France
• Herbeville, France
• Vacherauville, France
• Baleycourt, France
• Marseilles, France
• Vaux-Andigny, France
• Saint-Juvin, France
• Brieulles-sur-Meuse, France
• Bohain-en-Vermandois, France
• Mézy-sur-Seine, France
• Badonviller, France
• Bois de Belleau, France
• Bazoches, France
• Châteauvillain, France
• Ploisy, France
• Suresnes, France

Volume 3 contains approximately 270 photographs taken in France, Germany, Italy, England, Ireland, Denmark, Switzerland, and the U.S. The most substantial topics are the Treaty of Versailles, postwar parades and celebrations, Interallied Games, U.S. strategic army maps, drawings of army corps and division insignias, and aircrafts. Notable figures include President Woodrow Wilson, General John J. Pershing, Prime Minister Georges Clemenceau, President Raymond Poincaré, and Marshal Ferdinand Foch.

• Chaumont, France
• Langres, France
• Versailles, France
• Paris, France
• Le Havre, France
• Sainte-Menehould, France
• Gironde, France
• Château-Thierry, France
• New York City, United States
• Hoboken, United States
• Bendorf, Germany
• London, England
• Dublin, Ireland
• Copenhagen, Denmark
• Montreux, Switzerland
• Florence, Italy
• Vinets, France
• Reims, France

Box 1 contains approximately 820 photographs taken in France, Germany, Belgium, Monaco, and the U.S. This box contains all of the aforementioned topics supplemented by French Riviera, Loire Valley, ruins of Reims, Château de Fontainebleau, Pyrenees, Alps, AEF, and personal photographs.

• Ypres, Belgium
• Albert, France
• Dun-sur-Meuse, France
• Reims, France
• Saint-Quentin, France
• Montsec, France
• Cantigny, France
• Château-Thierry, France
• Paris, France
• Koblenz (Coblenz), Germany
• Meaux, France
• Vincennes, France
• Versailles, France
• Fontainebleau, France
• Joinville-le-Pont, France
• Monte Carlo, Monaco
• Lourdes, France
• Menton, France
• Nimes, France
• Roquebrune-Cap-Martin, France
• Saint-Jean-Cap-Ferrat, France
• Mont-Saint-Michel, France
• Saint-Germain-en-Laye, France
• Azay-le-Rideau, France
• Loches, France
• Amboise, France
• Montrésor, France
• Le Lude, France
• Rigny-Ussé, France
• Saumur, France
• Chinon, France
• Langeais, France
• Blois, France
• Saint-Savin, France
• Luz-Saint-Sauveur, France

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 Children at play photograph album contains 55 photographs of young children playing outside from 1916 to 1928.

The Children at play photograph album contains 55 photographs of young children playing outside from 1916 to 1928. Images show children with parents and dogs, at the beach, and playing with toys including wagons, tricycles, and a pedal car.

The album is 15.5 x 9.75 cm with brown cloth covers.

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

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

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

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

The Virginia, Georgia, and Maryland carte-de-visite album contains carte-de-visite and tintype studio portraits of men, women, and children taken around the 1870s-1880s. Most of the tintypes are hand-tinted.

This album (13cm x9cm) contains 16 carte-de-visite and 13 tintype photographs taken in Virginia, Georgia, and Maryland circa 1870s-1880s. Most items are individual portraits, with three exceptions: a carte-de-visite of two women, a tintype of a woman holding an infant, and a tintype family photograph of six people, mostly children. The majority of the tintypes and at least two of the cartes-de-visite have hand coloring. One photograph of an infant is identified as Estelle Simcoe. The volume's brown cover has a raised geometric design, and the title "Album" is stamped in gold on the spine.

The Geneseo, Illinois family photograph album (28 x 21 cm) contains 32 formal studio portraits of men, women, and children taken in Geneseo, Illinois and Davenport, Iowa from the 1870s to 1890s.

The Geneseo, Illinois family photograph album is a 34 page card album (28 x 21 cm) containing 32 formal studio portraits of men, women, and children taken in Geneseo, Illinois and Davenport, Iowa from the 1870s to 1890s. There are 27 cabinet cards, 3 cartes de visite and 2 tin types. An envelope in the front contains two loose photographs. There are three graduation portraits of young women, indicated by the presence of their diplomas. Of note is a photograph of a man wearing a Knights Templar uniform.

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

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

The Traveling photographers collection contains approximately 245 examples of photographs produced by various traveling photographers that operated in the United States primarily during the latter half of the 19th-century.

Works by approximately 145 different traveling photographers are present in this collection and include cartes de visite, cabinet cards, stereographs, tintypes, and a small number of larger format images. For many of these photographers there is only a single example of their work included in the collection. Locations of operation include a wide range of regions across the United States, with eastern states such as Pennsylvania being particularly well-represented. Most of these photographs are typical individual and group portraits of men, women, and children.

The collection has been divided into two volumes. Volume 1 contains cartes de visite and tintypes while Volume 2 contains cabinet cards, stereographs, and a few other images with larger mounts of varying sizes. Volume 1 also includes two clippings and one photocopied page from an article about traveling photographers written by Eaton S. Lothrop, Jr., for Popular Photography magazine as part of his "Time Exposure" column series.

• “Wm. Johnson” - taken by N. L. Stone (Vol 1)
• “F. W. Huling” - taken by C. S. Roshon’s Mammoth Union Photograph Car (Vol 1)
• “Jimmie McCool Taken in 1889” - taken by S. R. Miller’s Photograph Car (Vol 1)
• “J. B. [or J. R.?] Enders” - taken by A. J. Miller, Keystone Traveling Gallery (Vol 1)
• “Uncle John Grimes” - taken by H. F. Knoderer & Bro (Vol 1)
• “J. P. Seip & Bro” - taken by Josiah Knecht (Vol 1)
• “Angalina Seip” [Angelina Seip] - taken by Josiah Knecht (Vol 1)
• “Julie Hamlin” - taken by Huested Bros. (Vol 1)
• “Timo Moyer?” - taken by Geo. V. Knecht (Vol 1)
• “Sam Rhenis Martin” and “Probably Sam Rhenis Martin’s Wife” - taken by Callahan’s Traveling Gallery (Vol 1)
• “Mrs. R H Blodget 236 35th St. Denver Col. Formily Mary Neil” - taken by King & Co.’s Traveling Gallery (Vol 1)
• “[?] Adaline Temple” - taken by F. J. Aiken (Vol 1)
• “Presented to Mr. & Mrs. Silas Boyer” - taken by B. Breslow’s Empire Movable Photograph Gallery
• “C. H. Holmes May 2nd 1881” - taken by J. B. Silvis (Vol 1)
• “Lou House - Graham’s Baby” - taken by the Erik Borklund Photo Car (Vol 2)
• “Olive Woodward” - taken by A. Couturier (Vol 2)
• “Geo. H. Dunham” and “Fredd Harry Dunham” - taken by Currier & Parkinson (includes stamp depicting Landing of Columbus on verso) (Vol 2)
• “Will Duning of Dresden” - taken by F. M. Foster (Vol 2)
• “Pansy Lovewell” - taken by the Hutchings Rail-Road Photo-Car (Vol 2)
• “Jabez Willes brother of Julia Willes Thrall” - taken by F. L. Hale (Vol 2)
• “Charlie, Mary, & Bruce Blaney Claysville Washington Co Pa.” - taken by Gibson & Myres (Vol 2)
• “Mrs. James J. Connelly #10 McConnellsburg PA” - taken by S. R. Miller’s Photograph Car (it is unclear if this inscription is related to the couple depicted) (Vol 2)
• “Carrie and Mattie Ewan”- taken by the National Art Company’s Railroad Palace Photographic Studio (Vol 2)
• “George & Sarah Kistler” - taken by Rollow’s Art Car (Vol 2)
• “Leo Martin” and "Jim Martin" - both taken by the Pacific Photograph Car, Rockford, Washington (Vol 2)
• “Arron Smith Children” - taken by the Pacific Photograph Car, Rockford, Washington (Vol 2)
• “Miss. Kittie M. Newell July 22nd 1889” - taken by Abel J. Whalen’s Accommodation Photo. Car (Vol 2)
• “Will Schnegg” - taken by H. C. Williams’ Floating Gallery (Vol 2)
• “Jonas Heim” - taken by B. L. Wilson’s Traveling Gallery (“Christina Waltz Williamsport Pa.” likely a relative of the subject and former owner of the photograph) (Vol 2)
• “April 1891 - Maggie Austin April 1891. A. M. Austin 43. E. G. ‘ ‘ 43 Mag ‘ ‘ 14 Edd ‘ ‘ 18 May ‘ ‘ 21.” - taken by W. H. Yant (Vol 2)
• “Howard J. Martin about 1893” - taken by Boston and Albany R.R. Photo Car (Vol 2)
• “Wash’s Daughter Pearl” - taken by F. M. Steele (Vol 2)
• “The Boy Preacher, Age 14: John E. De Merritt” - taken by Winslow and Shobe (Vol 2)
• “Maurice (Moe?) Boynton Alice Price } 2nd buggy” - taken by Carson Bros (Vol 2)
• “Mrs. J. C. Boxley” - taken by Newton & Sprague Photo Car (Vol 2)

Other items of interest include 14 tintypes including a group portrait taken at the Algonquin Bon Ton Tent by W. H. Pearce and a miniature tintype produced by Douglass’ Travelling Car (Vol 1); several photographs with revenue stamps; and 10 cartes de visite by C. G. Blatt, including three items containing humorous poetry in their backstamps (Vol 1); a stereograph view of "the old Block House at Annapolis Royal" by the Palace R.R. Photograph Car Co. (Vol 2); a stereograph view of Bridgewater, Vermont (Vol 2); a stereograph view of the "Steam Packet 'Minnesota' at Hastings [Minnesota] (Vol 2); a portrait of a pet pug taken by Will. H. McMillan, R. R. Palace Photo Car that bears an inscribed caption reading: “For my dear ‘Missis’ from her Devoted ‘Brownie’” (Vol 2); a group portrait of a man and women taken by Keil & Matula with an inscribed caption reading “Czechlovakia Couple Fayetteville, TX” (Vol 2); several portraits of children that appear to show hidden mothers in the background; two studio portraits of unidentified individuals produced by Civil War veteran turned photographer Capt. J. B. Shane (Vol 2); a number of photographs that appear to be copies of earlier images, including a portrait of a man produced by the Hutchings Railroad Photo Car bearing an inscribed caption reading: “Copied from original” (Vol 2); and a possible self portrait of photographer Abel J. Whalen on a mount stamped "Whalen's 'Accommodation' Photo. Car."

The following lists contain names of photographers represented in the collection as well as the total number of images included for each photographer:

• F. J. Aiken [2 images]
• Aldhizer & Eutsler [2 images]
• Atkinson’s Photographic Railroad Gallery [1 image]
• L. K. Bair [1 image]
• B. Billian [1 image]
• C. G. Blatt [10 images]
• A. F. Bonine [1 image]
• E. A. Bonine [2 images]
• J. K. Bottorf [1 image]
• Bowdish's Traveling Gallery [1 image]
• B. Breslow’s Empire Movable Photograph Gallery [2 images]
• Brown & Huard [1 image]
• Burchfield & Bottorf [1 image]
• J. Bushong [1 image]
• Callahan’s Travelling Gallery [3 images]
• H. P. Carnes [1 image]
• Coggeshall’s Excelsior Photographic Car (John Ingersoll Coggeshall) [2 images]
• G. W. Dibert [1 image]
• W. A. Dietrich [4 images]
• Doran's Photographic Car [1 image]
• Dougherty (Mammoth wagon) [2 images]
• Dougherty & Cope (Mammoth wagon; J. L. Cope) [3 images]
• J. W. Fothergill's Mammoth Photograph Car [1 image]
• F. Z. Fritz [2 images]
• William R. Godkin [1 image]
• M. C. Goodell [4 images]
• William Griffin [2 images]
• Harry Gurlitz’s Photograph Car [1 image]
• W. H. Heiss [2 images]
• J. J. Hodge [2 images]
• J. M. Horning & Co. [2 images]
• Huested Bros. [1 image]
• Johnson & Sullivan’s Portable Railroad Gallery [1 image]
• King & Co.’s Traveling Gallery [1 image]
• George V. Knecht [5 images]
• Josiah Knecht [8 images]
• H. F. Knoderer & Bro. [1 image]
• C. L. Leonard [3 images]
• J. Loveridge [1 image]
• C. D. Luccock [1 image]
• J. H. McGowan (U.P.R.R. Photographic Car) [1 image]
• A. J. Miller [1 image]
• S. R. Miller's Photograph Car [2 images]
• William Nick [3 images]
• Nick & Knecht [2 images]
• E. W. Peirce (The Railroad Photograph Coach) [1 image]
• Lewis P. Peter [7 images]
• Peter & Kresge [1 image]
• Peters & Brother [1 image]
• F. B. Pine's Floating Photographic Studio, of the St. John's River, Fla. [1 image]
• S. Place [1 image]
• Portable Picture Palace [1 image]
• G. M. Primrose [2 images]
• W. H. Rector [4 images]
• C. S. Roshon (Mammoth Union photograph car) [1 image]
• J. B. Silvis (U.P.R.R. Photographic Car) [2 images]
• C. H. Sisson [1 image]
• C. M. Stark [1 image]
• N. L. Stone [1 image]
• A. Stoppel [1 image]
• Tucker & Powell [1 image]
• W. A. Vale [1 image]
• M. C. Vance [1 image]
• D. S. Von Nieda [1 image]
• Horace L. Webber [1 image]
• West & Lewis (Travelling photographers) [1 image]
• Whalen's Portable Art Gallery (Abel J. Whalen) [1 image]
• L. H. Whitson (Professor L. H. Whitson's Rail Road Photographic Car) [1 image]

• Bishop's Portable Photograph Gallery [1 image]
• J. Davidson [1 image]
• Doolittle & Humphrey's Tintype and Ferrotype Car [1 image]
• Dougherty & Cope (Mammoth wagon; J. L. Cope) [1 image]
• Douglass’ Traveling Car [2 images]
• Paul’s Mammoth Travelling Photograph and Ferro-type Car [1 image]
• W. H. Pearce (The Algonquian Bon Ton Tent) [1 image]
• E. B. Squier [2 images]
• A. D. Terhune [1 image]
• Williams & Dodge’s Photograph Cars [2 images]
• C. C. Williams [1 image]

• Antoinette Palace Railroad Photo Car (Studio Antoinette) [2 images]
• Blocker Palace Art Studio and Traveling Cottage Gallery [1 image]
• Erik Borklund [1 image]
• Boston and Albany R. R. Photo Car [2 images]
• W. A. Bradley [1 image]
• P. L. Britain (Palace R. R. Photo Car.) [1 image]
• Clark’s Portable Gallery [1 image]
• J. P. Coffey, Photo. Car. (J. N. Bayles) [1 image]
• A. Couturier [2 images]
• James H. Crockwell [1 image]
• Currier & Parkinson [1 image]
• J. W. Dalrymple [1 image]
• Drum Rail Road Photo Car (Oscar Drum) [1 image]
• Elite R. R. Photo Co. [1 image]
• Fallman Parlor Photo Car [3 images]
• F. M. Foster [1 image]
• Gibson & Myres, Traveling Photographers [1 image]
• F. L. Hale [2 images]
• F. J. Haynes [3 images]
• T. E. Hays [1 image]
• Howell (Prairie Queen Gallery - Temple, Tex.) [1 image]
• Hutchings Bros. Railroad Photo. Car [1 image]
• Hutchings Rail-Road Photo-Car [3 images]
• K. C. Photo Car [1 image]
• Keil & Matula, Traveling Photographers [1 image]
• Keystone Portable Gallery [1 image]
• Lyden & Bellinger [1 image]
• Malloy (20th Ave. No. & Wash. Minneapolis) [1 image]
• William H. McMillan [1 image]
• J. W. Merideth [1 image]
• S. R. Miller [3 images]
• National Art Company’s Railroad Palace Photographic Studio [1 image]
• Newton & Sprague Photo Car. [1 image]
• Nowack Bros. Floating Gallery [1 image]
• Pacific Photograph Car [4 images]
• Palace R.R. Photograph Studio [1 image]
• Lewis DeArcy Rollow (Rollow’s Art Car) [2 images]
• J. B. Shane [2 images]
• Showman & Joy’s Palace Cars [1 image]
• Smith Brothers [1 image]
• C. H. South [1 image]
• F. M. Steele [1 image]
• The K. C. Art Chariot [1 image]
• The Stuart Queen City Photo Co's. Great Australian Route, Car No. 12 [4 images]
• The Traveling Art Company [1 image]
• M. F. Timmerman (East Tenn. Photo Car) [1 image]
• Tooley & Grigsby (The Monarch Traveling Photographers) [1 image]
• Turner & Johnson [1 image]
• N. A. Watkins [1 image]
• Welsh & Harlow [1 image]
• West & Lewis (Travelling photographers)
• Whalen's "Accommodation" Photo. Car. (Abel J. Whalen) [2 images]
• H. C. Williams (Williams' Floating Gallery) [1 image]
• B. L. Wilson's Traveling Gallery [1 image]
• Wilson's Railroad Photo Car. (B. L. Wilson) [1 image]
• Winslow and Shobe [1 image]
• Wolfe & Peiffer (Keystone Traveling Photo Studio) [2 images]
• W. H. Yant [1 image]
• Young, Portrait Artist (Boston Portrait Car) [1 image]

• T. A. Aldrich [1 image]
• Coggeshall’s Excelsior Photographic Car (John Ingersoll Coggeshall) [2 images]
• Mrs. Emma A. Cooke's Traveling Photo. Pavillion (Emma A. Cooke and W. A. Cooke) [1 image]
• J. P. Doremus [1 image]
• H. H. H. Langill [1 image]
• Palace R. R. Photograph Car Co. [1 image]
• F. B. Pine's Floating Photographic Studio, of the St. John's River, Fla. [1 image]
• W. E. Warren's Portable Photograph House [2 images]

• J. A. Bellinger [1 image]
• Carson Bros. [1 image]
• Newton & Sprague Photo Car. [1 image]
• D. R. White [1 image]

This photograph album contains tintype, carte-de-visite, and other portraits of various individuals taken in Burlingame, Kansas, and other locations in the late 19th century.

This photograph album (13.5cm x 17cm) contains 10 tintypes, 5 cartes-de-visite, and 4 additional studio portrait photographs of men and women. Some of the cartes-de-visite were taken in Burlingame, Kansas, and some may have been taken near "Dent Lake." One photomechanical print of Dora E. Hough may have been clipped from a published book or magazine. The photographs depict individuals and groups of young women and men, who are sometimes identified in captions. Captions are also present on many blank pages, though the photographs are no longer present. The volume has the title "Album" stamped in gold on its spine and additional stamped floral and decorative designs on its covers. The album, which is bound in brown leather, once had two metal clasps; only one remains.

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

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

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

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

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

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

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

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

The Southwest automobile camping photograph album contains 46 photographs of an auto camping trip to Arizona and New Mexico in 1928.

The Southwest automobile camping photograph album contains 46 photographs of an auto camping trip to Arizona and New Mexico in 1928. Each photograph includes notation naming location, individuals, and some dates. Multiple photographs are missing. The first portion of the album shows various locations in Arizona including the Sentinel (Arizona), Gillespie Dam, San Xavier Mission and Grotto, Casa Grande Ruins, Wickenburg Mountains, Granite Dells, Hopi Point and Powell Memorial at the Grand Canyon, Painted Desert, and Canyon Lake. Locations in New Mexico include Elephant Butte Dam, Hot Springs, and Raton Pass. Auto camps shown include "Stumble Inn," (Tucson, Arizona), Rowe's Well Camp (near the Grand Canyon), and Texas Home Camp (Hot Springs, New Mexico). The last image is of the Oklahoma State Capitol.

Many captions name William and Mattie Mulholland in the photographs. Also included is one loose photograph of poodles from "Baby Doll Kennels," in Erie, Pennsylvania.

The album is 20.5 x 13.5 cm with black artificial leather covers.

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

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

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

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

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

The 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 Upstate New York and Maryland photograph album contains approximately 105 images showing scenes from Upstate New York and rural Maryland.

The Upstate New York and Maryland photograph album contains approximately 105 images showing scenes from Upstate New York and rural Maryland. The album (21 x 31 cm) has brown cloth covers, is disbound, and bears the signature "Ruth E. Wilcox" inside the front cover. New York-related images of interest include rural views of Brewerton and Onandaga; Owasco Lake; the interior of a blacksmith's shop with the smithy at work; and scenes from around Syracuse including Dorwin Springs Road, Furman Road, the aftermath of the Salinas Street fire, the illuminated interior of the Alhambra auditorium, home interiors, and numerous flower arrangements. Two photographs also show a man sitting in a horse-drawn wagon filled with flowers and outfitted with the lettering "Henry Burt, Florist."

Approximately 35 photographs show rural scenes from Maryland, including farmyard views, groups of African Americans including a farm family, as well as a group portrait of twelve African American men posed with baseball equipment.

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

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

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

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

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

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

The 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 Vermont and Connecticut photograph album contains approximately 60 photographs primarily showing scenes from Brattleboro, Vermont, and New London, Connecticut.

The Vermont and Connecticut photograph album contains approximately 60 photographs primarily showing scenes from Brattleboro, Vermont, and New London, Connecticut. The album (23 x 25 cm) has black cloth boards and is tied with a white cord. Brattleboro-related images include views of the arrival of a train carrying Spanish American War veterans, parade floats in the Brattleboro Fair, the town hall, Main Street, and the former studio of photographer Caleb L. Howe at the corner of Main and Elliot Street with a sign reading "Howe Photographer." New London-related images include views of Ocean Beach and the Soldiers and Sailors Monument. Also included are photographs of the interior and exterior of a house at "35 Western Ave.", other waterfront scenes, steamboats, and a mill in Hinsdale, New Hapmshire. Of particular note are two photographs of an acrobat performing on an outdoor stage. Many of the photographs are faded, with details partially or wholly obscured.

The Gerta Gage family photograph album contains cabinet card portraits of men, women, and children taken in various Michigan cities around the mid-1880s to mid-1890s. Some of the pictured individuals posed in groups or with animals, and two men wore Shriners uniforms. The album likely belonged to Gerta Gage, of Big Rapids, Michigan.

The Gerta Gage family photograph album (22cm x 29cm) contains 80 cabinet card photographs of men, women, and children, few of whom are identified. The studio portraits were taken in Michigan towns and cities such as Muskegon, Big Rapids, Petoskey, Jackson, Allegan, Ovid, and Traverse City, as well as in other locales such as Milwaukee, Wisconsin; Decatur, Illinois; and Chicago, Illinois. Two men posed in Shriners hats, a few posed with dogs, and one man, photographed by A. S. Green of St. Thomas, Ontario, blew cigar smoke while having his picture taken. Though most items are individual portraits, some subjects posed in groups of two to four; one image is a group portrait of seven men. The volume's padded covers are bound in blue and yellow cloth. "Gerta Gage" and "Gerta Gage Big Rapids Michigan" are engraved on the album's large metal clasp. The pages of the album are decorated to resemble wood.

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

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

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

The Great Lakes Region cities and rivers photograph album contains approximately 125 photographs of Detroit, Grand Rapids, Chatham, Minneapolis, and Saginaw from 1916 to 1919.

The Great Lakes Region cities and rivers photograph album contains approximately 125 photographs of Detroit, Grand Rapids, Chatham, Minneapolis, and Saginaw from 1916 to 1919. The images show many of the same people canoeing, skiing, and fishing. Most album pages include handwritten captions with date, location, and names, and some photographs have handwritten notations on the back. Individuals referred to as John, Mother, Wahnita, and Aunt Anna appear most frequently. Also included are images of a Peace Day and Armistice Day parade in 1918 and a Standard Oil fire in July, 1919. A few images show scenes from the Panama Canal Zone.

The album is 21.75 x 13.5 cm with dark brown cloth covers.

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

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

The San Antonio, Texas family photograph album contains approximately 115 photographs of a family taken in and around San Antonio, Texas from ca. 1910-1930.

The San Antonio, Texas family photograph album contains approximately 115 photographs of a family taken in and around San Antonio, Texas from ca. 1910-1930. The photographs vary in size and a few include handwritten notations on the front or back. These notations mention first names (Art, Uncle Ed, and Allan) and the address of one of the frequently appearing houses, 624 E Guenther St, San Antonio, Texas. The images show a family over a period of approximately a decade, featuring Allan throughout his childhood. Allan can be seen with multiple dogs, cats, and chickens, swimming, in a baseball uniform, and with his family. One photo is of particular interest; Allan, as a toddler, is holding a rifle and is standing with two men in baseball uniforms and military gear at a military encampment. Also noteworthy, a small portion of the photographs have a "Fox Tone Picture," stamp on the back. Some photographs are loose throughout the album and others are housed in folders between pages.

The album is 18.5 x 14 cm with black cloth covers.

The World War I surgeon's photograph album, Base Hospital 29, contains approximately 90 photographs and 4 ephemeral items documenting a U.S. Army surgeon's training in the United States and service overseas during World War I.

The World War I surgeon's photograph album, Base Hospital 29, contains approximately 90 photographs and 4 ephemeral items documenting a U.S. Army surgeon's training in the United States and service overseas during World War I. The album (18 x 29 cm) was possibly compiled by Lieutenant H. O. Wernicke. Nine photographs show military personnel and barracks at the Medical Officer Training Center at Fort Riley, Kansas, in 1918. Following a voyage to Liverpool on July 6 1918 aboard the RMS Empress of Russia, subsequent photographs depict Base Hospital 29 in Tottenham, London, including medical staff, facilities, wards, an operating theater, and casualties. One photograph shows medical staff and patients singing from songbooks while a nurse plays the piano and a patient sits up in bed playing the violin. A possible transfer to France is indicated by 6 postcard views of a town and hospital with the caption, "Base Hospital 9 at Chateauroux."

Ephemeral items include a seating chart for the Candlewick Ward Club dinner held Monday, July 29 1918 attended by U.S. service members as well as a fold-out schematic of the RMS Olympic.

The California, Colorado, and Long Island vacation photograph album consists of 65 snapshot photographs from 1904 to 1906.

The California, Colorado, and Long Island vacation photograph album consists of 65 snapshot photographs from 1904 to 1906. The album begins with scenes of Colorado. These images show views from a railway through the Rocky Mountains and a trip to Garden of the Gods in Colorado Springs.

A majority of the photographs were taken in San Francisco, California. These photos date from May, 1906, just after the San Francisco earthquake and fire. Many of the images show refugee camps and temporary housing, displaced businesses, and damage on Van Ness Ave, which was used as a firebreak by the United States Army. The McKinley Parade, also known as Fiesta de Los Angeles is photographed as well. Other California scenes include Cliff House in San Francisco, an ostrich farm in Pasadena, vineyards, and orchards of olive trees, palm trees, and lemon trees.

The last portion of the album is of Long Island, New York State. These scenes include people on a boat in the water near Westhampton, people swimming in Jamaica Bay, and Apacuck Point.

The album is 18.5 x 14 cm with red cloth covers.

The Historical views of Malden album contains approximately 200 items including photographs, reproductions, prints, newspaper clippings, and maps related to the history of Malden, Massachusetts.

The Historical views of Malden album contains approximately 200 items including photographs, reproductions, prints, newspaper clippings, and maps related to the history of Malden, Massachusetts. The album (26 x 31 cm) is largely disbound with black cloth covers. Many items are loose.

Items of interest include images of street scenes, commercial buildings, schools, houses, gravestones, plaques, monuments relating to the history of Malden (with particular attention paid to the homes of the Winship, Sprague, and Waite families), and several group portraits of Malden students including "Malden High School Cadets" in uniform holding bayoneted rifles and the Centre Grammar School graduating class of 1883 at their school desks. Also present are images of interior and exterior views of city hall (festooned for the 250th anniversary in 1899), and Massachusetts Governor Curtis Guild dedicating Bell Rock around 1905.

Two maps showing Malden in 1852 and 1856 as well as a laid-in negative photostat showing "Sales at auction of the pews in Malden Meeting House, January 13th, 1803" replete with names and prices are also included

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

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

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

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

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

A list of photographs is housed with the album.

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

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

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

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

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

The Abraham Lincoln assassination book illustrations collection consists of 300 photographic reproductions likely produced during the 1960s of various 19th-century photographs, paintings, illustrations, maps, diagrams, posters, and ephemera related to the assassination of Abraham Lincoln.

The Abraham Lincoln assassination book illustrations collection consists of 300 photographic reproductions likely produced during the 1960s of various 19th-century photographs, paintings, illustrations, maps, diagrams, posters, and ephemera related to the assassination of Abraham Lincoln.

The collection provides a thorough pictorial history of Lincoln's assassination and its aftermath using photographic reproductions of select period sources. The reproductions are contained in three volumes that have been grouped into five thematic sections: "Assassination" and "Flight and Capture" (Volume 1); "Trial and Execution" and "The Funeral" (Volume 2); and "Funeral at Springfield" (Volume 3). Each thematic section is introduced with a typed index that identifies images and their original sources, which are often listed in abbreviated forms. Image sources that are cited include the Library of Congress (LC), National Park Service (NPS), Chicago Historical Society (CHS), National Archives (NA), New-York Historical Society (NYHS), Lincoln National Life Foundation (LNLF), Illinois State Historical Library (ISHS), Leslie's Illustrated, Harper's Weekly, Claude Simmons (C.S.), and more. While the subject and source of each image are noted, but there is no accompanying text or narrative concerning the events. This collection appears to have been assembled in relation to the prospective publication of an illustrated book on the topic, possibly during the 1960s as a centennial piece. Many of the photographs have chapter and page notations on the back, though there are no specific references to the author or the intended title of the prospective book.

The indexes for each thematic section are as follows:

• Second Inauguration - LC
• Mary Lincoln - LC
• Abraham Lincoln - LC
• Major Henry Rathbone - NPS
• Clara Harris - LC
• Lincoln Closed Coach - CHS
• Points in Downtown Washington - LC
• Ford's Theater from the South - ISHL
• Ford's from the North - ISHL
• Star Saloon Next to Ford's - NPS
• Simulated Night View
• Playbill April 14, 1865 - NPS
• Laura Keene - LC
• Dress Circle - NPS
• Orchestra and Parquette - NPS
• Interior Plan - NPS
• Box 7 and 8 - US Signal Corps
• Box, Orchestra, Dress and Family Circles - ISHL
• Stage and Box - Ford Museum
• Full Stage - NPS
• Diagram of Stage - From Pitman
• Stage with Explanatory Key
• Setee Used in Box - NPS
• Chair in Which Lincoln Sat - NPS
• Plan of Box - From Harper's Weekly, 4-29-65
• Doors Leading to Box - F. Leslie's Ill. News. 5-13-65
• Stick Used to Bar Door - NPS
• Seating Arrangement in Box - NPS
• Booth's Knife and Dagger - NPS
• John Wilkes Booth - NA
• The Deringer - NPS
• Berghaus Sketch from F. Leslie's I.N. 4-29-65
• Treasury Guards Flag - NPS
• Berghaus Sketch - F. Leslie's I.N. 5-6-65
• Booth's Spur - NPS
• Booth's Boot - NPS
• Berghaus Sketch - F. Leslie's I.N. 5-20-65
• Dr. Charles Leale - LC
• "Borne by Loving Hands" Bersch Painting - NPS
• Simulated Night View of Petersen House
• Room Where the President Died - NPS
• Front Parlor - NPS
• Back Parlor - NPS
• Plan of the Petersen House
• Plan with Key
• Contemporary Sketch - F. Leslie's I.N. 5-20-65
• The Alexander Ritchie Painting - LC
• Contemporary Sketch - F. Leslie's I.N. 4-29-65
• Enlargement from the Bachelder Painting - Brown U.
• Diagram of the Wound - from Eisenschiml
• Seringer with Probe, Bone and Ball - NPS
• The William Seward House - NPS
• Attack on Seward by Paine - from Hawley
• Secretary of State William Seward - LC
• Lewis Paine (Powell) - LC
• Frederick H. Seward - NA
• Paine's Revolver and Dagger - NPS
• Paine (LC) and Sketch from Harper's Weekly
• House Where Lincoln Died Present Day - NPS
• Ford's Theater Years Later - NPS
• William Clark, Occupant of the Rear Bedroom - NPS
• Corp. James Tanner - NYHS
• Secretary of the Navy Gideon Welles - NPS
• Secretary of [W]ar Edwin M. Stanton - LC
• The Rev. P. D. Gurley - LC
• Surgeon General J. K. Barnes - NA
• Journalist friend Noah Brooks - ISHL
• Close Friend Dr. Alonzo Henry - ISHL
• Robert Lincoln - ISHL
• Edwin Booth - NA
• John T. Ford - NPS
• Dr. Charles A. Leale - Nat. Lib. Medicine
• Kirkwood House - C.S.
• John Nicolay, Lincoln, John Hay - NPS
• The Fatal Deringer - NPS

• Rear of Ford's - NPS
• Escape from Theatre - NPS
• Area Behind Ford's - NPS
• Assumed Flight Through City - NPS
• Anacostia Bridge - NPS
• Distant View - LC
• Flight to Garrett's Farm - NPS
• Surratt House, Surrattsville - NPS
• Road from Surrattsville - NPS
• Dr. Mudd's House - NPS
• Bedroom at Dr. Mudd's, Dr. Mudd
• Path to Zekiah Swamp - C.S.
• St. Mary's Bryantown - C.S.
• Samuel Cox Residence - NPS
• Bryantown Hotel - NPS
• Thomas Jones - NPS
• Thomas Jones House - NPS
• Old Brawner House, Pt. Tobacco - NPS
• Pages from Booth's Diary - NPS
• Believed Departure Place Potomac - C.S.
• Dents Meadow - NPS
• Crossing the Potomac - Baker's Book
• Mrs. Quesenberry's House - NPS
• Dr. Stewart's Home - C.S.
• Remains of Dock, Port Conway - C.S.
• The William Lucas Cabin - NPS
• Historical Marker - C.S.
• A Controversial Poster - NPS
• Col. Baker, Lt. Baker, L. C. Conger - NYHS
• Lt. E. P. Doherty - NPS
• Col. Lafayette Baker - NA
• Boston Corbett, Lt. Doherty - NA
• Boston Corbett - LC
• Garrett's House - NPS
• Goldman Inn, Bowling Green - C.S.
• Highly Imaginative Sketch
• Contemporary Sketch - NPS
• Plan of Garrett's Yard - NPS
• Removal of Booth from Barn - CHS
• As above - from Frank Leslie's Ill. Mag.
• Booth's Death - from Baker's Book
• Booth's Guns Found in Barn - NPS
• Booth's Revolver - NPS
• Booth's Compass - NPS
• Keys Found on His Body - NPS
• Pictures on His Body - NPS
• " " " "
• " " " "
• Returning With Booth's Body - NPS
• Post-mortem on the Montauk - NPS
• Surious Burial - from F. Leslies Ill. Mag
• Burial of Booth - from Baker's Book
• Paine's Pickaxe - NPS
• Arrest of Paine at Mrs. Surratt's - NPS
• Boston Corbett - Boston U.

• Old Capitol Prison - NPS
• Monitor "Saugus" - NA
• Transferring the Prisoners - F. Leslie's I.N. 5-26-65
• Arrival at the Old Penitentiary - NPS
• Cell Block - Harper's Weekly 7-8-65
• Paine Hooded - F. Leslie's 5-27-65
• Lewis Paine - LC
• George Atzerodt - LC
• David Herold - LC
• Sam Arnold - LC
• Michael O'Luaghlin - LC
• Edmond Spangler - LC
• Dr. Samuel Mudd - NPS
• Mary Surratt - LC
• Sketch Surratt House - NPS
• Mrs. Surratt's House - LC
• Floor Plan Courtroom - from Pitman
• The Conspirators - LC
• Scene at the Trial - Harpers W. 6-10-65
• The Courtroom - LC
• The Military Commission - LC
• The Commission sketch - NPS
• Some Members of the Commission - NA
• " " " - NA
• " " " - NA
• Judge Joseph Holt - NA
• Reverdy Johnson - NA
• Maj. Gen. Thomas Ewing, Jr. - LC
• Attorneys John Clampitt, William E. Doster
• Benn Pitman - LC
• Louis Wiechmann - NPS
• Booth's Note for Andrew Johnson - NPS
• Spangler's Rope - NPS
• Howard's Livery Stable - LC
• Incriminating Picture from Surratt House - NPS
• Senator James Lane - NA
• Senator Preston King - NA
• President Andrew Johnson - NA
• Anna Surratt - NA
• Remodeled Old Penetentiary - C.S.
• Father Jacob A. Walter - NA
• Prison Scenes from Old Print
• Before the Execution - LC
• The Graves - LC
• Awaiting the Prisoners - LC
• Reading the Orders - LC
• Adjusting the Nooses - LC
• Final Scene - LC
• Mary Surratt Plaque - from Confederate Museum
• Mary Surratt's Grave - C.S.
• Fort Jefferson Dry Tortugas - NA
• Tunnel at Fort Jefferson - NPS
• Dr. Mudd Plaque at Fort Jefferson - NPS
• Old and New Gravestones for Dr. Mudd - C.S.
• Spangler's Grave at St. Peter's - C.S.
• Booth's Grave, Greenmount Cemetery, Baltimore
• John Wilkes Booth - Mus. City of New York
• John Surratt as a Papal Guard - LC
• Joh[n] Surratt - LC
• Returning John Surratt for Trial - Harper's W. 2-19-67
• David Herold. an early photo - NA

• Abraham Lincoln - LC
• The White House - LC
• The Capitol - LC
• The East Room - NPS
• Services in the East Room - Harper's W. 5-6-65
• Pass Funeral Service Contemporary sketch
• Draped Treasury Building - NYHS
• The Casket - F. Leslie's I.N. 5-13-65
• Washington Hearse - LC
• The Procession - F. Leslie's I.N. 5-6-65
• " "
• The Procession Forming - NPS
• " " - LC
• Turning Into Pennsylvania Ave. - Harper's W. 5-6-65
• The Procession - London Illustrated News
• Route of the Funeral Train - LNLF
• Willie Lincoln - ISHL
• The Funeral Coach - NPS
• Interior of Car - NPS
• At Harrisburg - ISHL
• The State House Harrisburg - CHS
• Train at Harrisburg - LNLF
• The Train at Philadelphia - ISHL
• The Philadelphia Hearse - LNLF
• Independence Hall - from Peterson
• Philadelphia - ISHL
• Philadelphia Scene - ISHL
• The Philadelphia Hearse - CHS
• Scenes at Philadelphia - NA
• " "
• Portion of Train in Railroad Yards - LNLF
• Crossing the Ferry to New York - from Valentine
• Arrival in New York - from Valentine
• The Procession Forming New York - NYHS
• " " " "
• New York City Hall - LNLF
• At the City Hall - LNLF
• The Body at City Hall - ISHL
• New York Procession - ISHL
• " " " "
• The New York Hearse - LC
• Death Certificate - NPS
• Scene at New York - NYHS
• Scenes in New York - from Valentine
• " " " " "
• Notice of Ceremony Lincoln, Illinois - ISHL
• The Arch at Sing Sing - NPS
• After the Procession at Albany - Albany Institute
• Buffalo Hearse - Buffalo & Erie Co. Hist. Soc.
• Procession at Buffalo " " " " "
• " " " " " " " "
• Monument Park Cleveland - CHS
• At Cleveland - CHS
• Scene at Cleveland Contemporary sketch
• Cleveland - LNLF
• Cleveland - LNLF
• Monument Park - LNLF
• At the State House Columbus ISHL
• Procession at Columbus - LNLF
• Funeral Arch Indianapolis - LNLF
• Hearse and Horses Indianapolis - LNLF
• Hearse and Casket Indianapolis - LNLF
• Hearse and Casket Indianapolis - LNLF
• Stop at Michigan City - LNLF
• Typical Smalltown Depot - ISHL
• Train at Chicago Illinois Cent. RR
• Removal of Coffin Chicago Cont. Sketch
• The Chicago Arch - LC
• Chicago Procession - Harper's Weekly 5-27-65
• Entering the City Hall - CHS
• The People at City Hall - CHS
• The Catafalque in City Hall - Harper's W. 5-20-65
• Chicago & Alton Locomotive No. 57. - ISHL
• Railroad Timetable, Chicago to Springfield - ISHL
• Notice of Observance Ilion
• Memorial Paradeat San Francisco - Soc. of Calif. Pioneers
• Memorial Service at Bloomington - CHS
• Services in London, England - London Ill. News May 1865

• The Chicago Delegation - ISHL
• Lincoln Herndon Law Office - Georg Studio
• Illinois State House - ISHL
• The Unused Tomb - ISHL
• Draped Lincoln Home - ISHL
• Draped Lincoln Parlor - ISHL
• Official Pass - ISHL
• Just Completed Catafalque - ISHL
• Second View Catafalque - ISHL
• Filing Into State House - ISHL
• Waiting to Enter - ISHL
• Across from the State House - ISHL
• Filing Past the Catafalque - Harper's Weekly 5-27-65
• Front of Lincoln Home - NPS
• "Old Bob" - ISHL
• Draped House and Horse
• Order of Procession to Oak Ridge - ISHL
• The Borrowed St. Louis Hearse - ISHL
• The Forming Procession - LNLF
• Route of the Procession
• Plan of Oak Ridge - ISHL
• The Gate at Oak Ridge - ISHL
• General View of Oak Ridge - ISHL
• Awaiting the Procession - NYHS
• The Temporary Tomb - ISHL
• The Services - ISHL
• Contemporary Sketch
• Directors of the Monument Association - ISHL
• Closeup of the Vault - ISHL
• Interior of the Temporary Tomb - ISHL
• The Present Tomb - Ill. Inf. Ser.
• Exterior of Present Tomb - Georg Studio
• Mary Todd Lincoln - NPS
• Thomas (Tad) Lincoln - ISHL
• Bishop Simpson - ISHL
• Interior of Catacomb as left by Thieves (From John Carroll Power)
• Funeral Procession Entering Oak Ridge Cemetery - NYHS

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 Shelter Island (N.Y.) photograph albums contain portraits of young female vacationers, pictures of visitors enjoying leisure activities on and around a beach, and views from the steam yacht Meteor.

The Shelter Island (N.Y.) photograph albums contain 188 pictures taken during a visit to Shelter Island around the late 19th century. Volume 1 (26cm x 22cm) contains 98 photographs from an Original Kodak or Kodak #1 camera and Volume 2 (32cm x 28cm) contains 90 photographs from a Kodak #2 camera, mounted 4 to a page. Each album has black covers with the title "Kodak" originally printed in gold on the front; the title on the second album has faded.

Both albums contain similar photographs of people enjoying outdoor leisure activities, particularly on a beach. Many items are informal portraits of young women alone or in pairs, often identified in manuscript captions. Women, men, and children are shown sitting and walking along the beach, wading in the water, riding in carriages, and watching baseball at "Jim-town," among other activities. The seaside hotel Manhausett House appears as does "the Casino." Several images are of spectators at a tennis pavilion. Of note are a group of images in the second album from a trip on the steam-powered yacht Meteor, including shots of passengers relaxing on deck and crew members. A monkey appears in one photograph in each of the albums. A photograph vendor's wagon appears on the beach, and a man is posed with a camera on a stand.

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

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

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

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

The Latin America and Caribbean travel photograph album (17.25 x 21 cm) contains 36 captioned views of Jamaica, Panama, Peru, and Chile taken by an unidentified photographer. The majority of the photographs are of landscapes but local people are also depicted.

The Latin America and Caribbean travel photograph album (17.25 x 21 cm) contains 36 captioned views of Jamaica, Panama, Peru, and Chile taken by an unidentified photographer. The majority of the photographs are of landscapes but local people are also depicted. A photograph of the S.S. Limari is present in the album. Of note are a series of photographs documenting a trip on the Peruvian Central Railway, including a view of Infiernillo Bridge.

The Leonidas, Michigan photograph album (14.5 x 17.75 cm) contains fifteen snapshot views of Leonidas, a settlement in St. Joseph County, Michigan. The photographs focus on streets, buildings, and roads.

The Leonidas, Michigan photograph album (14.5 x 17.75 cm) contains fifteen snapshot views of Leonidas, a settlement in St. Joseph County, Michigan. The photographs show views of streets, a train depot and train, a paint shop, a cemetery, residences, and a group of four individuals in a carriage drawn by two horses.

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

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

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

The Stereograph-half album (34 x 27 cm) contains approximately 204 photographs, the majority of which are commercially produced half-steregraphs from locations in New Hampshire, New York, Washington, D.C., Virginia, Florida, Colorado and California.

The Stereograph-half album (34 x 27 cm) contains approximately 204 photographs, the majority of which are commercially produced half-steregraphs from locations in New Hampshire, New York, Washington, D.C., Virginia, Florida, Colorado and California. Photographs show Crawford Notch and Mt. Washington in New Hampshire; the American Falls of Niagara in winter; the Erie Canal in Lockport, N.Y.; landmarks and monuments in Washington, D.C. and Arlington, Va.; and 6 views of Lake George, N.Y. by Seneca Ray Stoddard, including the steamboat Horicon and the Sagamore Hotel. Florida photographs, some signed by photographer B.F. Upton, include Castillo de San Marcos; street scenes and a former slave market in St. Augustine; Harriet Beecher Stowe's house and family in Jacksonville; and African Americans standing near a log home and in a field of cotton. California scenes show the beach and town of Monterey, Cliff House in San Francisco, and 16 views of the Yosemite Valley. Two large albumen prints show Summit Station of the Central Pacific Railroad near Soda Springs, Calif., and gateway to the Garden of the Gods, Colorado, with ink stamp on verso: C.R. Savage, Art Bazaar, Salt Lake City, Utah. Additional photographs include botanical views, tourist attractions in Scotland, Paris, and other western European locations, and photographs of artworks.

The album is half bound leather with brown boards and is stored in a blue box.

The Namur, Québec photograph album (24.5 x 18 cm) contains eleven snapshots of people in the countryside around Namur, Québec at the turn of the twentieth century.

The Namur Québec photograph album (24.5 x 18 cm) contains eleven snapshots taken in Namur, Québec. Multiple photographs feature women fishing and riding bicycles. The album has a dark red leather cover with "'The Farm', Namur Que." stamped on the front.

This photograph album contains 72 photographs of a Shriners International trip to Glacier and Grand Canyon National Parks in 1920.

This photograph album contains 72 photographs of a Shriners International trip to Glacier and Grand Canyon National Parks in 1920. Each page includes handwritten notations stating location. The album begins with images of La Crosse (Wisconsin), Vista House along the Columbia River (Oregon), Grand Canyon, and Garden of the Gods. Following, are views of Glacier National Park including Saint Mary Lake, Many Glacier, Many Glacier Hotel, and Shriner members dancing with "waitresses." Of particular note are images of Shriner members among Blackfeet and Hopi Native Americans. The album ends with two images of San Francisco; a birds-eye view of the city and the Golden Gate strait.

The album is 20.5 x 14.5 cm with brown paper covers. "Shrine Trip 1920" is handwritten on the front cover.

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

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

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

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

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

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

This photograph album contains pictures taken during trips to Arizona, California, Colorado, Minnesota, and Michigan around the turn of the 20th century. Subjects include Native American homes, dress, and customs; western scenery; and Midwestern waterfronts and steamships.

The Tourist photograph album (15 x 21 cm) contains approximately 245 pictures from around the Southwest and Midwest United States taken by an unknown photographer around the turn of the 20th century. Southwest photographs include mission churches in California and New Mexico, rock formations, cliff dwellings at Canyon de Chelly and Mesa Verde, Balanced Rock in the Garden of the Gods, and a pueblo. Several photographs feature Native Americans, including: women with traditional squash blossom hair styles; a man carrying a small child in a sling on his back; a woman in a shop with baskets, wool and dry goods; a woman seated in front of a loom with partially finished cloth; a man sitting in a white-washed interior with skeins of wool, holding a spindle with a hand carder at his feet. One photograph shows mummified human remains posed next to a bottle of whiskey and skull, indicating likely tomb desecration. Also included are unidentified Southwestern streets, beach scenes, and the storefront of J.M. Archuleta in Colorado. Midwest photos include images of the Palace of Fine Arts (Museum of Science and Industry) in Chicago, Mackinac Island, the Marquette Monument in St. Ignace, Soo Locks, and the Great Lakes steamer North Land, and a lake and cottage. The Grand Hotel on Mackinac Island and the SS Chief Wawatam are also pictured. Many photographs are significantly faded. Some manuscript captions are included.

The album includes two cyanotypes and a postcard with a cartoon satirizing the Brigham Young's polygamy.

The album has a half bound pebbled leather cover and is stored in a three-part wrap with brown cloth spine.

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

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

Volume 1:

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

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

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

Volume 2:

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

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

The Arizona photograph album contains 70 images taken by an unknown photographer showing scenes from Flagstaff, Arizona Territory, and the surrounding area.

The Arizona photograph album contains 70 images taken by an unidentified photographer showing scenes from Flagstaff, Arizona Territory, and the surrounding area. The album (21 x 31 cm) has black pebbled cloth covers and a leather spine. Images of interest include views of men visiting cliff dwellings near Flagstaff; a group visiting the Grand Canyon by carriage and horseback; past the John Hance house and trail; scenic shots of the Grand Canyon taken from the Grand View Hotel; trailside cooking; and a wagon breakdown on the return trip. Additional photographs show Timothy Riordan, president of the Arizona Lumber & Timber Company, and his family at the rustic Thomas' Hotel in Oak Creek Canyon; an excursion to the lava beds including amateur photographer Father Daniel McGillicuddy of Worcester, Massachusetts, who is shown setting up his camera among the rocks; 11 views of the 1902 Fourth of July celebrations in Flagstaff, with masked participants, horse-drawn floats, soldiers in formation, and the former homes of Michael and Timothy Riordan decked out in bunting. Also present are photographs of the home of Frederick Sisson, a manager with the Arizona Lumber & Timber Company, including views of a porch or interior decorated with Native American rugs, pottery, textiles, baskets, and animal skins.

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

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

The Alaska Gold Rush photograph album contains approximately 300 photographic prints. Most photographs show scenery, people, and settlements in Alaska around the turn of the 20th century, as well as a small group of scenes from San Francisco, California.

The Alaska Gold Rush photograph album (25cm x 30cm, 92 pages) contains approximately 300 photographic prints. Around 280 prints, including around 270 mounted onto the album's pages and around 10 loose items laid into the volume, show settlements, natural scenery, and people in Alaska from 1898-1902. Settlements such as St. Michael, Dutch Harbor, and Dawson are shown, as are native settlements, tents, and log cabins; a few interior shots are present. Some of the buildings and people pictured were associated with the North American Transportation & Trading Company. Subjects include: United States military personnel, indigenous Alaskans, men and women (sometimes in heavy winter dress), landscape views, glaciers, native animals and other natural scenery, and military and civilian boats.

Most of the photographs are black-and-white prints, though the album also includes a small number of cyanotypes. Items of note include a small panorama (p. 14), a photograph taken at the "dawn of the century" (p. 7), and pictures of a totem pole (p. 77), an early telegraph pole (p. 81), and a hands-free pie-eating contest (p. 85). A partial manuscript list of captions, roughly contemporary with the photographs, is laid into the volume. The final four pages of the album contain small photographic prints of scenes from San Francisco, California, with a focus on missions and other architecture. Penciled captions accompany many of the album's prints, though many are difficult to read. The album has post binding with screw posts.

The Virginia and Tennessee Railroad Trip photograph album includes pictures of railroad cars, tracks, and travelers taken in the 1890s, as well as pictures of trackside scenes in Tennessee and pictures of people enjoying recreational activities on a beach.

The Virginia and Tennessee Railroad Trip album contains 296 photographs taken along a railroad line in Tennessee and on an unidentified beach in the 1890s. Each item is a Kodak No. 2 circular print, mounted onto the pages in groups of 6; two are pasted on top of other pictures. The photographs are numbered 577-863. The volume has leather covers with the title "Photographs" stamped in gold on the front.

Most of the album's images are scenes from a railroad trip in Tennessee, beginning with views of the Hotel Roanoke in Roanoke, Virginia, and including pictures of passengers, tracks, trackside scenery, depots, and small towns. The album also contains pictures of people walking along a beach, displaying captured fish, preparing to launch a rowboat, and shooting small birds. Additional groups of items show a large Victorian house, people disembarking from a boat, and bathers diving into a large partially covered swimming area.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The World's Columbian Exposition photograph album contains approximately 284 images related to the World's Columbian Exposition of 1893 held in Chicago, Illinois.

The World's Columbian Exposition photograph album contains approximately 284 images related to the World's Columbian Exposition of 1893 held in Chicago, Illinois.

The album (29 x 40 cm) has black cloth and leather covers bound by two metal rods. The original covers were replaced in March 2012 by conservator James W. Craven. Most of the album's 70 pages contain 4 photographs per page. Images include photographs of exteriors and interiors of various exhibition buildings, large crowds of people, numerous sculptures and statues, various historic and modern marine vessels, and bird's-eye views of the fair complex. Also of note are several photographs showing attendees in wheelchairs, images of various ethnic group exhibit buildings (including the Japanese Bazaar, Persian Palace, Irish Village, Oahomey Village of Benin, Egyptian Temple of Luksor, Alaskan Indian Village, and NY Iroquois Exhibit), and a group portrait of women sculptors including Helen F. Mears and Jean Pond Miner.

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

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

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

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

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

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

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

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

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

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

This album contains photographs of local residents, buildings, and natural scenery taken in the Congo region of Africa, around 1887. Africans and white missionaries posed singly and in groups. Landscape views, village scenes, images of vegetation and rock formations also appear.

This album (43cm x 32, 61 pages) contains 269 photographs of local residents, buildings, and natural scenery, possibly at an American Baptist mission in the Congo region, circa 1887. Three to eight items are pasted onto each page, and captions are written directly into the album where photographs are missing. The three-quarter-bound volume's covers are black and gray.

The photographs are roughly organized by topic. Pages 1-23 are comprised of individual and group portraits of Africans and of white missionaries. Many are identified by name. Of particular interest are posed ethnographic photographic studies of native men, women, and children shown in traditional African and western dress. Many if not most images appear to have been staged by the photographer. Among those may be of native inhabitants appearing as manacled slaves or prisoners; a mock execution, people with primitive weapons; mock combat with bow, spear, and shield; the wearing of ceremonial masks, families with children, and a young man with a large snake around his neck. "Mr. Clark" is identified in group photos as is "Dr. Flemming," a black woman, who is occasionally pictured with the missionaries. "Mr. Lewis" appears with a camera and tripod and may be the photographer for this album. "Mr. Roger Casement," future British consul to Portuguese West Africa and Irish Nationalist, is identified in one photograph and appears in at least one other. A set of four photographs depicts two African boys using a camera obscura on a stand to produce drawings of each other. The images on pages 23-31 include village scenes, rustic buildings including a church, post office, and photographer's booth. A man posed with the decapitated head of a hippopotamus appears on page 23.

Pages 32-48 concentrate on details of trees, fruits, and other vegetation, and pages 49-60 pertain to rock formations and rivers. These items include views of rocks with unidentified carved inscriptions, of caves, and of sailing and steam ships in a harbor. A small river steamer, theHenry Reed , a canoe, and a shipwreck are also pictured. The final item, located on page 61, is a photograph of William Shakespeare's supposed birthplace in Stratford-upon-Avon, England.

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

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

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

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

The Milbourne family portrait album contains photographs of members of the Milbourne family and other individuals, most of whom were related to the compiler. The volume includes cartes-de-visite, tintypes, and small prints mounted on thin cards.

The Milbourne family portrait album (11cm x 8cm) contains photographs of members of the Milbourne family and other individuals, most of whom were related to the compiler. The volume includes 5 cartes-de-visite, 5 carte-de-visite-sized tintypes, and 2 small prints (about 3cm x 3.5cm) mounted on thin cards (7cm x 6cm). Two of the tintypes, each cut into an oval, are loose in the volume, as are the two smaller card photographs. Many of the subjects are identified by manuscript captions as members of the Milbourne family and relatives of the album's owner; captions are also present for items that are no longer extant. With the exception of one picture of an infant, the portraits show men and women of various ages photographed individually and, in one instance, as a couple. One aunt is shown propped up on a pillow, and a Union soldier is identified as "General Sheridan." The album has a worn black leather cover.

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

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

The Lippincott family carte-de-visite albums contain formal carte-de-visite portraits of members of the Lippincott, Thorne, and Taylor families of Philadelphia, Pennsylvania, many in the traditional dress of Quakers. Two photographs show men in military uniform.

The two Lippincott family carte-de-visite albums (both 14cm x 11cm) contain portraits of members of the Lippincott, Thorne, and Taylor families of Philadelphia, Pennsylvania. Volume 1 has 18 cartes-de-visite and 1 tintype, and Volume 2 has 24 cartes-de-visite and 1 lithographic card. Most photographs are formal studio portraits taken by Philadelphia photographers of men, women, children and elderly women. Many are in the traditional dress of Quakers. Civil War soldiers Joshua and Powell Thorne appear in military uniforms. Several photos have revenue tax stamps. A portrait of activist Lucretia Mott by H.C. Phillips is included. Each of the volumes has a brown leather cover decorated with geometric designs. Both albums had two metal clasps; the first is missing one of two clasps and the second has both clasps intact.

The Portland, Washington, D.C. photograph album contains 74 interior and exterior photographs of The Portland apartment building in Washington, D.C. from 1900 to 1903.

The Portland, Washington, D.C. photograph album contains 74 interior and exterior photographs of The Portland apartment building in Washington, D.C. from 1900 to 1903. Most photographs have handwritten notation stating date, location, or subject matter. Exterior images show The Portland and Thomas Circle from various viewpoints. Interior images show various rooms in an apartment; the parlor, bedrooms, dining room, and den. Many of these images appear to include family members, friends and neighbors. The last photograph is of a woman near the shore in Marblehead, Massachusetts.

The album is 14.5 x 12 cm with red artificial leather covers.

The Buffalo Soldiers carte-de-visite album contains cartes-de-visite and tintype photographs of African American soldiers, civilian men and women. Some of the photographs were taken in Webster, Dakota Territory (now South Dakota).

The Buffalo Soldiers carte-de-visite album contains 16 cartes-de-visite and 7 tintype photographs taken circa 1870s and 1880s, now housed separately. Included are formal studio portraits of unidentified African American and Caucasian civilians and soldiers. Some individuals posed in pairs or groups. Many of the photographs, including some of the cartes-de-visite of African American soldiers, were taken in the Dakota Territory. The original album (12cm x 15cm) has covers bound in blue cloth; a metal shield is attached to the front cover.

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

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

The 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.

This photograph album contains 57 photographs of the Jinan Station of the American Presbyterian Shantung Mission from ca. 1923 to 1928. Much of the images show the Murray High School for Girls and its students.

This photograph album 57 photographs of the Jinan Station of the American Presbyterian Shantung Mission from ca. 1923 to 1928. Many of the images show the Murray High School for Girls and its students. Young girls are shown in the school yard being led through routines and stretches, in class portraits, on a riverboat, and likely participating in May Day celebrations dancing around a maypole. The girls are shown wearing two-piece qipao uniforms with a white blouse and black skirts or trousers. In several photographs students can be seen waving the first national flag of the Republic of China. Two images include a stamp on the back that reads, "Dr. Evalena S. C. Fleming, American Presbyterian Mission, Tsinanfu North China." Dr. Fleming was an amateur photographer and likely the owner of the album. The accordion style album also contains five loose photographs in a mylar sleeve.

The album is 18.25 x 12 cm with decorative cloth covers.

The Schlegelmilch family cottage photograph album contains 107 photographs related to the Schlegelmilch family vacation home on a wooded island or point (likely on a lake in Wisconsin) including views of natural scenery, Schlegelmilch family members and cottage guests, and various recreational activities taken during the late 1890s to 1920.

The Schlegelmilch family cottage photograph album contains 107 photographs related to the Schlegelmilch family vacation home on a wooded island or point (likely on a lake in Wisconsin) including views of natural scenery, Schlegelmilch family members and cottage guests, and various recreational activities taken during the late 1890s to 1920. The album (18 x 27 cm) is half bound in tan leather with four rivets along the edge. Images of interest include scenic views of the lake, cottage exterior, and surrounding forested area; views of cottage visitors boating, gathering on the veranda and indoors for meals, swimming, using rifles for target practice, fishing, picnicking, and taking part in outdoor excursions; a posed portrait of people holding musical instruments, a fishing net, and a megaphone; photographs of boats including small steamboats or lake ferries, a sailboat, and a large canoe holding 13 passengers; interior views of the cottage during winter; and two photographs of Native Americans including a family sitting outside of a wigwam shelter and a group portrait dated 1901 showing two people sitting in a wallpapered interior with a beaded bandolier bag hanging from the wall behind and a small animal pelt on the shelf.

Cottage visitors identified by handwritten captions include: Agnes Barland, Mable Welke, Isabel Rutherford, Gordon Barland, H. F. Schlegelmilch, L. Schlegelmilch, Jennie Dunnigan, and Lillian Dunnigan.

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

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

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

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

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