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The Ypsilanti State Normal School photograph album contains 20 photographs of teachers and students associated with Ypsilanti State Normal School (now known as Eastern Michigan University).

The Ypsilanti State Normal School photograph album contains 20 photographs of teachers and students associated with Ypsilanti State Normal School (now known as Eastern Michigan University).

The album (15 x 11.5 cm) has black leather covers with “Cartes De Visite” gilt-stamped on the front and a metal locking clasp. An “Index to Portraits” appears towards the front, though it does not match the current arrangement of photographs. A total of 18 cartes de visite and 2 tintypes are present.

The first image in the album is a view of two buildings captioned “Ypsilanti State Normal in 1876 when Mr. & Mrs. M. J. Erwin attended.” Subsequent photographs consist entirely of individual and group studio portraits, all of which include handwritten captions identifying people and in some cases occupations, dates, and locations. Persons pictured include Ypsilanti State Normal School teachers, administrators, and students as well as individuals associated with the McKibbin and Erwin families of Commerce and Southfield, Oakland County, Michigan. Portraits of superintendent Joseph Estabrook, geography instructor Anna Cutcheon, science instructor J. A. McLouth, and preceptress Ruth Hoppin are all included towards the front of the album.

The signature of “John McKibbin” appears on the album’s first page. A man identified as John McKibbin also appears in three photographs, one of which includes an additional caption in differently colored ink that reads “My Brother.” The additional caption was likely written by McKibbin’s sister Mary C. McKibbin Erwin, whose portrait is also included alongside one of her husband Matthew J. Erwin. All three individuals attended Ypsilanti State Normal School together.

The Yetter family photograph album contains 20 studio portraits including members of the Yetter family of Pennsylvania.

The Yetter family photograph album contains 20 studio portraits including members of the Yetter family of Pennsylvania. The album (10 x 13.5 cm) is in relatively poor condition and has a missing album cover. Image formats include carte de visites and tintypes, and most of the album pages contain handwritten captions stating names of subjects. Identified individuals include Jerry Yetter, Emily Smith, Emily Yetter, Sam Engle, Lib Engle, Walter Yetter, Hannah Price, Glen Manchester, Jennie Augustine, Charles Yetter, Ruben Yetter, and Ida Yetter. Sam Engle appears dressed in the uniform of the 3rd Pennsylvania Heavy Artillery Regiment. Also present is a single loose carte de visite studio portrait by Charles Eisenmann of the German circus performer dwarf siblings Augusta and Herman Rice which was likely produced during the late 1880s.

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 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 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 Women Photographers carte-de-visite album contains studio portraits made by female photographers and husband-and-wife teams in the United States and England.

The Women Photographers carte-de-visite album (13.5cm x 10cm) contains 21 studio portraits of men, women, and children made by female photographers and husband-and-wife teams in the United States and England. This album was likely compiled by collector Frederick P. Currier from individual unrelated photos and an empty album

With the exception of one picture of a man and a woman, all of the items are individual portraits. One woman wore a large cross on a necklace, and one infant posed on a chair. The album's dark brown cover has a raised geometric design, and the volume is closed with two metal clasps. A floral design is carved into the sides of the pages. A list of photographers and their locations, when given, is provided below.

The Woman's Hunting and Camping photograph album contains pictures taken during a camping trip in upstate New York and exterior views of homes and municipal buildings in western Massachusetts. Many of the camping pictures feature women.

The Woman's Hunting and Camping photograph album (34cm x 25cm) contains 68 photographs taken in upstate New York and western Massachusetts around the turn of the 20th century. The green cloth cover has the words "Colgate & Co's Toilet Soaps and Perfumery" on the front in thin gold letters. Most of the photographs, which are pasted three to a page, have brief captions.

The first group of photographs pertains to a camping trip around Lewey Lake, Mason Lake, and Indian Lake in northern New York, including many views of woodland scenery and pictures of male and female campers. People are shown carrying and paddling in canoes, relaxing and posing around log cabins and campsites, and riding in open horse-drawn carts. The album includes two portraits of a woman dressed in a hunting outfit posing with a rifle and a portrait of a baby taken on his or her first birthday. One group of pictures concerns a logging camp and loggers. The final pages contain photographs of homes and other buildings in Hatfield, Northampton, Amherst, and Hadley, Massachusetts, including the compiler's girlhood home, a mill, the Northampton library, and the municipal halls of Northampton and Amherst. People can be seen relaxing in front of some of the dwellings.

The Wolf family photograph albums contain cabinet card and carte-de-visite portraits of numerous men, women, and children. Most of the photographs were taken in Indianapolis and various small towns in central Indiana.

Together, the Wolf family photograph albums contain 61 portraits taken in Indianapolis, Indiana, and other central Indiana locales around the late 19th century. Volume 1 (26cm x 21cm) contains 45 items in sleeves and 6 loose items; Volume 2 (20cm x 15cm) contains 7 items in sleeves and 3 loose items, as well as three paper cutouts in the shape of hatchets related to the annual celebration of George Washington's birthday. Most items are cartes-de-visite and cabinet cards, though tintypes, other card photographs, and unmounted prints are also present. The first volume also has a small plate containing the names of George McGaughey, Sallie McGaughey, Jesse McGaughey, and Mrs. Minnie Wolf.

The majority of the photographs are studio portraits of men, women, and children. Some members of the Hill, Wolf, and McGaughey families are identified by captions written on the album pages or directly on the photographs. A picture of Jacob Grove Wolf is accompanied by part of a newspaper obituary regarding his death. Henry G. Wolf, Jr., posed near a large waterfall, possibly at Niagara Falls. Volume 1 has a hard leather cover with a slightly raised decorative design, including a small rope culminating in a tassel. Volume 2 has a hard white cover with a raised, painted floral design.

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

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

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

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

The William Tipton sample photograph album contains 121 photographs taken by William H. Tipton at Gettysburg, Pennsylvania from circa 1884 to 1889. The images are group shots of former Civil War regiments, veterans, prominent politicians, and others, mainly taken at the Gettysburg battlefield and newly-erected monuments.

The William Tipton sample photograph album contains 121 photographs, originally mounted in an album. For preservation purposes, the photographs were removed from the album and mounted on archival cardstock (34 x 43 cm). Each photograph has been assigned a number corresponding to the original page number. Most pages displayed only one large photograph, but several had multiple smaller images, each of which has been assigned a letter following the page number. In six instances, photographs were originally mounted over other photographs, suggesting that the album was revised over time. Five of these photographs have a large "X" drawn through the image. These images are labeled as "under" + page number. In addition, four loose photographs were tucked between pages, and they are labeled with the page numbers they were between.

The album has a quarter-bound, black leather cover, and the leather spine is missing. The gilt title, though partially illegible, presumambly once read "Photographs, Gettysburg Groups."

The photographs were taken by William H. Tipton on the Gettysburg Battlefield from 1884 to 1889. Some of the pages are stamped with "W.H. Tipton, The Battlefield Photographer, Gettysburg, Pa." The majority of images have captions, either hand-written on the album page or directly on the photographic print, identifying groups and individuals. This album was one of several sample albums showing photographs available for purchase at W.H. Tipton's photo gallery. Original prices are included next to many of the images.

All of the photos in the album are group shots of men, women, and children, ranging from five to over one hundred people. In the majority of images, the men are wearing suits and have ribbons pinned to their chest; however, in some images, the men are dressed in military uniforms. The majority of images are of a particular regiment posing with their unit's monument, often taken at the dedication ceremony. The regiments represented are from many Union states including Connecticut, Indiana, Maine, Massachusetts, Michigan, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Rhode Island, Vermont, and Wisconsin, with Pennsylvania, Massachusetts, and New York regiments appearing most frequently. Although the majority of the images are of veterans and politicians from the Union side of the Civil War, some images include Confederate veterans. The 25th anniversary of the battle was commemorated with a three day reunion in July, 1888 that featured both Union and Confederate veterans. Photos 53-59B depict this reunion on the battlefield and feature Confederate Generals Wade Hampton and James Longstreet, in addition to Union generals, including Warner Miller, Daniel Butterfield, John Hartranft, Joseph Carr, Henry Slocum, Joshua Chamberlain, and Daniel Sickles. Sickles rests on crutches, as he lost his leg while fighting at Gettysburg.

Many of images were taken in either wooded areas or fields, with farms occasionally noticeable in the background. In photo 71, Pennsylvania College (now Gettysburg College) and its observatory are visible in the background.

Politicians appearing in photos include President Grover Cleveland and Vice President Thomas A. Hendricks (57A), and Vice President Hannibal Hamlin (85). The photos also depict governors and former governors, including Ebenezer J. Ormsbee (Vermont), Elihu E. Jackson (Maryland), Joshua L. Chamberlain (Maine), Joseph R. Bodwell (Maine), James A. Beaver (Pennsylvania), Robert E. Pattison (Pennsylvania), Robert S. Green (New Jersey), Joseph B. Foraker (Ohio), Jeremiah M. Rusk (Wisconsin), Cyrus G. Luce (Michigan), Samuel J. Tilden (New York), John F. Hartranft (Pennsylvania), Wade Hampton (South Carolina), and Lucius Fairchild (Wisconsin). Many of these governors were former generals.

Fraternal organizations are also depicted in the album. Photo 36 is a group shot of the Improved Order of Red Men, specifically the Tonguwa Tribe; members of The Grand Army of the Republic appear in photo 38, and individual members may be present in other images as well.

As there were no African American units or "Colored Troops" at the Battle of Gettysburg, there are very few African Americans appearing in these photos. Photo Under 48 depicts an African American soldier standing next to a group of white soldiers. Photo 46 depicts a group of identified teachers, Native American students, and parents from the Carlisle Indian Industrial School in Carlisle, Pennsylvania. The majority of Native Americans in this photo are wearing western clothing, with two men wearing traditional Native American dress.

The William N. Palmer photograph album contains 78 photographs of William Niles Palmer and friends taken in Massachusetts and Rhode Island from 1915 to 1916.

The William N. Palmer photograph album contains 78 photographs of William Niles Palmer and friends taken in Massachusetts and Rhode Island from 1915 to 1916. The album (16.5 x 11.5 cm) dates to about one year prior to Palmer’s enlistment in the U.S. Army during World War I. During this period Palmer went by Niles W. Palmer; "Niles W. Palmer/Company F 14th Regiment U.S. Railway Engineers/American Expeditionary Forces" is stamped on the front of the red album cover.

The album begins with images taken in Providence, Rhode Island. A group of young people, including Palmer, are documented travelling by train to or from East Douglas, Massachusetts. Members of the group are shown cutting trees, canoeing, shooting, camping, and picnicking among other recreational activities. Four images show the site of a freight train wreck in East Douglas, Massachusetts. Also of note is a humorous double-exposed photograph of Palmer appearing to be inside of a glass bottle. The album concludes with photographs taken in Rumford, Rhode Island. Each photograph in the album includes a typewritten caption indicating individuals, location, and content. Other specific locations that are represented include Arcade Woods, Bad Luck Pond, and Buttonwoods Beach. The most frequently named individuals include Alan W. Watson, Norman S. Watson, William J. Story, Ruth P. Smith, Selma C. Sandbeck, and Edith V. Sandbeck. The captions frequently refer to the group as, "ADOTs." The meaning behind this acronymic reference has not been identified.

The William H. Sherzer Hawaii photograph album contains approximately 320 images documenting a cross-country car camping trip beginning at Michigan State Normal College professor William H. Sherzer's home in Ypsilanti, Michigan, to California, and then by ship to Hawaii.

The William H. Sherzer Hawaii photograph album contains approximately 320 images documenting a cross-country car camping trip beginning at Michigan State Normal College professor William H. Sherzer's home in Ypsilanti, Michigan, to California, and then by ship to Hawaii. The album (29 x 20 cm) has woven grass covers, black paper pages, and includes numerous handwritten captions. Photographs of the American Southwest and California include views of natural features and rock formations in New Mexico, Arizona (including cliff dwellings near Roosevelt), and the Mojave Desert; the Grand Canyon; and Lick Observatory. The traveling party appear to have had their vehicle shipped to Hawaii along with them. Hawaii-related images include views of buildings and streets in Waikiki and Honolulu; the interior of a cottage; rice harvesting; scenic views of Kauai, Waimea, Mo'okini Heiau, Puna, Kohala, and the lava fields of volcanic regions; the steamships Wilhelmina and Matsonia; and a photograph of Elizabeth Lahilahi Webb outside the Bishop Museum in Honolulu. Additional images include scenes from a trip to Alexandria, Arlington, and Mount Vernon in Virginia as well as Washington, D.C., mainly consisting of views of tourist attractions as well as a visit to Sherzer's sister Dr. Jane Sherzer.

The William Bull and Sarah Wells Pageant photograph album contains 33 photographs of an elaborate outdoor pageant of the story of William Bull and Sarah Wells, two early settlers of Orange County, N.Y.

The William Bull and Sarah Wells Pageant photograph album (19 x 26 cm) contains 33 photographs of an elaborate outdoor pageant of the story of William Bull and Sarah Wells, two early settlers of Orange County, N.Y. It features locals dressed up as settlers and Indians and a house of logs constructed on site. Images of the reenactment also include the courtship and wedding of Bull and Wells, a wedding dance, and the making of plans to build a stone house. This pageant may be part of a family reunion, an ongoing Independence Day ritual, but also includes thanksgiving scenes of a meal shared by Indians and settlers. Prominently featured in one photograph are William Bull V and VII, descendants of William Bull and Sarah Wells.

The album has an unmarked black cloth cover and is housed in a gray wrapper with blue cloth binding.

The William A. Lewis photograph collection consists of approximately 1,530 items pertaining to a wide range of visual subjects that are represented across a variety of photographic formats including daguerreotypes, cartes de visite, stereographs (which form the bulk of the collection), and glass plate negatives as well as modern slides, film strips, snapshots, and postcards.

The William A. Lewis photograph collection consists of approximately 1,530 items pertaining to a wide range of visual subjects that are represented across a variety of photographic formats including daguerreotypes, cartes de visite, stereographs (which form the bulk of the collection), and glass plate negatives as well as modern slides, film strips, snapshots, and postcards.

The subject matter of this collection is thematically and chronologically diverse and reflects the broad interests of the collector, with the U.S. Civil War and 19th-century views of American and European cities being particularly well-represented topics. The collection is organized into four main series according to subject matter and is further divided into specific subject groupings within each series. In most cases, multi-item sets have been kept together and placed within the most generally appropriate subject grouping. An extensive number of photographers and publishers are represented throughout the collection including the likes of H. H. Bennett, C. B. Brubaker, John Carbutt, Centennial Photographic Company, B. F. Childs, E. & H. T. Anthony & Company, Alexander Gardner, T. W. Ingersoll, International Stereoscopic View Company, Keystone View Company, William Notman, Timothy O'Sullivan, William Rau, Strohmeyer & Wyman, Underwood & Underwood, and F. G. Weller.

The following list provides a breakdown of every topical subsection of the collection and includes item counts for each grouping:

• Airships (11)
• Bridges (69)
• Civil War I--stereographs (91)
• Civil War II--cartes de visite, Kodachrome slides, negative film strip copies of stereographs held at the Library of Congress, postcards (48)
• Disasters (49)
• Expositions (24)
• Industry & Labor (89)
• Miscellaneous (23)
• Portraits (109)
• Railroads (62)
• Ships (80)
• War (30)

• Alaska (47)
• Arizona (3)
• California (20)
• Colorado (2)
• Dakota (4)
• District of Columbia (50)
• Florida (2)
• Hawaii (1)
• Illinois (17)
• Iowa (2)
• Maine (8)
• Maryland (27)
• Massachusetts (20)
• Michigan (31)
• Missouri (3)
• New Hampshire (10)
• New York (116)
• Ohio (2)
• Oregon (2)
• Pennsylvania (16)
• Tennessee (1)
• Texas (1)
• Vermont (3)
• Utah (3)
• Virginia (6)
• Washington (1)
• West Virginia (1)
• Wisconsin (2)
• Wyoming (2)
• Unidentified locations (35)

• Austria (5)
• Belgium (6)
• Brazil (1)
• Canada (3)
• Cuba (5)
• Czechoslovakia (1)
• Egypt (5)
• England (21)
• France (43)
• Germany (14)
• Greece (1)
• India (2)
• Ireland (4)
• Italy (22)
• Japan (3)
• Mexico (1)
• Miscellaneous (31)
• Monaco (4)
• Netherlands (1)
• Norway (3)
• Palestine (5)
• Panama (41)
• Puerto Rico (3)
• Scotland (10)
• Spain (2)
• Sweden (2)
• Switzerland (9)
• Turkey (1)

• Keystone Alaska and Panama views, set box (1)
• Stereoscope (1)

• Post-WWI Keystone views of German and American zeppelins and one real photo postcard showing pre-WWI aircraft (Series I, Box 1, Airships)
• Numerous views of the Brooklyn Bridge under construction and after completion, and the Niagara Falls suspension bridge (Series I, Box 1, Bridges)
• Views of Civil War battle sites, encampments, and leaders on contemporary mounts as well as numerous reproductions of stereographs showing important battlefield sites and troops (Series I, Boxes 1-2, Civil War)
• Stereographs, real photo postcards, and other images documenting the aftermath of the 1906 San Francisco Earthquake, 1871 Chicago Fire, 1889 Johnstown Flood, 1900 Galveston Hurricane, and other calamities (Series I, Box 3, Disasters)
• Images showing scenes from various American and European events, with an emphasis on the 1876 Centennial Exhibition in Philadelphia (Series I, Box 3, Expositions)
• Images showing mills, factories and people engaged in various occupations, including a boxed set of 50 images related Sears, Roebuck operations produced around 1906 (Series I, Box 3, Industry & Labor)
• Hand-colored early groupings of French theatrical tableaux (Series I, Box 3, Miscellaneous)
• Approximately 109 portrait photographs in different formats of various individuals, including William Jennings Bryan; a boxed set of 50 cartes de visite depicting Danish actors and actresses; cartes de visite of Emperor Napoleon III and the Mikado of Japan; and numerous unidentified subjects represented in real photo postcards (1), tintypes (17), framed/cased ambrotypes, and daguerreotypes (13) (Series I, Box 4, Portraits)
• Approximately 62 images of railroads, mostly in the U.S., including photographs from an 1866 expedition to the 100th meridian on the Union Pacific Railroad while under construction (Series I, Box 5, Railroads)
• Approximately 80 images of ships including warships, freighters, riverboats, passenger ships, shipwrecks (including of the USS Maine), and shipyards mostly in the U.S. with the notable exception of a photo of the 1858 launch of the SS Great Eastern, with Isambard Kingdom Brunel possibly in the crowd. Also of interest are 8 photos and postcards showing ships in World War I-era "dazzle" camouflage (Series I, Box 5, Ships)
• A Keystone View Co. series of images related to World War I (Series I, Box 5, Wars)
• A number of images produced by Keystone View Co. and other stereograph purveyors that focus on major cities such as Boston, New York, Paris, Constantinople, and Jerusalem (throughout Series II & Series III)
• Views from geological expeditions to the American frontier in the 1860s and 1870s (Series II, Unidentified Locations)

This album, compiled by Wilhelm Hasselbach in 1871, contains photographs of Chicago buildings before and after the Great Fire of 1871, as well as commercial illustrations of buildings and landmarks in Germany and Switzerland, and photographic portraits of women.

Wilhlem Hasselbach, a German druggist living in Chicago, Illinois, compiled this album (24cm x 20cm) in 1871 and 1872. The album has green pebbled leather covers and a title, "Scrap Book," appears in a stylized gold design on the front. Photographs and commercial illustrations are pasted directly onto the book's colored pages. Hasselbach first inscribed the volume in Chicago in November 1871; a second note on the same page (written in German) is dated in Munich on September 16, 1894. Three items are laid into the volume's front cover: a Christmas card from the Northern Trust Company with a colored illustration of Michigan Avenue, Chicago, as it appeared in 1870 (printed after 1871); a pamphlet, "Chicago Since 1837" by Gordon Best (1917); and a card from S. D. Childs & Company (undated).

The first group of items includes a printed advertisement for a meeting of Chicago citizens to be held on October 9, 1871, and a photograph of a collage of portraits of United States presidents. These are followed by 62 photographs showing Chicago buildings and street scenes before and after the Great Chicago Fire, including pictures of commercial and municipal structures, a factory, and churches. One page has a small manuscript map showing the location of Bodemann & Hasselbach's drugstore and several other businesses at the intersection of State Street and Harrison Street. The Chicago pictures are followed by groups of commercial engravings and other illustrations depicting prominent buildings and landmarks in Berlin, Germany; Dresden, Germany; Zurich, Switzerland; and other locales, as well as a painting of Germania and a photograph of a collage of small portraits of German royalty and generals arrayed on an iron cross (around 70 items total). The final items are clippings with a picture of a dog who survived under a pile of rubble for over a day during the Great Chicago Fire and an advertisement for a secure bank vault and safe deposit boxes. Nine portraits are pasted into the album's final pages, including one of a well-dressed man and eight of unidentified women.

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

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

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

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

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

The White Mountains vacation photograph album contains 26 photographs taken by amateur photographer brothers Thomas Avery Hine and Charles Gilbert Hine related to a twelve-day carriage tour of the White Mountains by a party of eight travelers in July of 1883.

The White Mountains vacation photograph album contains 26 photographs taken by amateur photographer brothers Thomas Avery Hine and Charles Gilbert Hine related to a twelve-day carriage tour of the White Mountains by a party of eight travelers in July of 1883. The album (18 x 27 cm) is half bound with black leather and brown boards and gilt title reading "Chronicles of our White Mountain trip, July, 1883." An inscription inside the front cover reads "Miss Mary A. Barnard, compliments of T. A. & C. G. Hine." The album consists of albumen prints glued to thick cardstock (opposite printed text) and glued onto the facing page.

Scenic images include views of Tuckerman's Ravine, Pemigewasset River, Franconia Notch, Lake Chocorua, Lake Winnepesaukee, Profile Mountain, and Mt. Lafayette. Other images of interest include views of two horse-drawn carriages on the road, the traveling party relaxing on a dock and posed atop a boulder, and the Crawford House and Thorn Mountain House hotels. Photographs are accompanied by a printed narrative of the journey written by Ellen T. Cheever Rockwood.

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 "Western Trip" photograph album contains pictures of people, natural scenery, and cities in Colorado, Arizona, New Mexico, California, Oregon, and Washington. The album includes photographs of the traveling party, popular tourist destinations, and residents of Santa Fe, New Mexico.

This album (17cm x 25cm), entitled "Western Trip-Summer-1899," contains 95 photographs of people and scenery in several western states. Each page contains two photographs housed in 8cm x 8cm windows; all items have captions, usually providing the location of the photograph. The title "Photographs" is printed in gold on the album's faded green cloth cover.

The photographer took three photographs of railroad stations, railroad tracks, and the prairie in Nebraska and Kansas before reaching Colorado. A photograph on the first page, identified as Lincoln, Nebraska, is likely mislabeled. A manuscript caption on the back of this photograph identifies the location as Omaha, Nebraska. In Colorado, where the photographer visited Manitou Springs, several canyons, Pikes Peak, and the Garden of the Gods. Several photographs are views of mountain passes and similar Colorado scenery some of which were taken from the front of a horse drawn carriage. The photographs from New Mexico include street-level views of Las Vegas and Santa Fe, as well as informal portraits of a woman and a child in front of a pueblo, a woman ("Belle of Santa Fe"), and a boy ("Dude of Santa Fe"). In Arizona, the traveler visited cliff dwellings, canyons, and the Grand Canyon; some images show the horse-drawn carriage the party took from Flagstaff to the Grand Canyon, and others show tourists (including the compiler) on horses. The caption of one photograph implies that a railroad car on the Atchison, Topeka and Santa Fe Railway had caught fire, though no fire or smoke is apparent.

After visiting the Southwest, the traveler continued to California, where he or she collected several photographs of the Pacific Ocean as seen from Santa Catalina Island, California. These are followed by a group of pictures from Yosemite National Park, including views of mountains, waterfalls, lakes, and forests, and a picture of Mount Shasta. The final items feature the Hotel Portland in Portland, Oregon; Umatilla House in The Dalles, Oregon ("Where Measles Flourish"); the Columbia River and riverside scenery; Tacoma, Washington; Seattle, Washington; and the shore of Lake Washington.

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.

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 Wella and Pet Anderson spirit drawings photograph album contains 26 cabinet card photographs of pencil-drawn portraits of spirits of various historical figures made by a spiritualist couple in San Francisco, California in the early 1870s.

The Wella and Pet Anderson spirit drawings photograph album contains 26 cabinet card photographs of pencil-drawn portraits of spirits of various historical figures made by a spiritualist couple in San Francisco, California in the early 1870s.

The album (17.5 x 12 cm) has marbled paper board covers and the spine has been reinforced with library cloth. Inside of the front cover, a handwritten note has been laid in that states “The following Photographs were presented to this society by Col. J. C. Bundy. They are from full-sized drawings, made with a Faber pencil, by Mr. & Mrs. Wella Anderson of California, when in a ‘Trance’ or unconscious state. About two hours time was required in which to draw each Portrait. For further particulars see ‘Descriptive Catalogue of the Ancient Band.’ July, 1879.” John C. Bundy (1841-1892) was the chief publisher of The Religio-Philosophical Journal, a Chicago-based spiritualist periodical that Bundy inherited from his father-in-law Stevens S. Jones (1813-1877) after the latter’s murder. The society to which Bundy gifted this album has not been identified.

Each photograph in this album bears printed captions identifying the subject. All but two of the photographs also bear printed copyright statements stating “Photographic copy of the Original Life-size Pencil painted Portrait, executed by those celebrated Spirit Artists, Wella and Pet Anderson, when in the unconscious ‘trance’ condition. Entered according to Act of Congress, in the year 1874, in the office of Librarian of Cong. Washington, D. C. by the Pacific Art Union, of San Francisco, Cal. Inc. March, 1874.” Two of the photographs (portraits of Anthony van Dyck and Peter Abelard) have copyright statements attributed to Jonas Winchester.

While many members of The Ancient Band were true historical figures, numerous fictitious or legendary individuals were also counted amongst the group, including an adult woman supposedly born in Massachusetts ca. 1774 named “Dawn” who lived for only one hour and who served as an assistant for The Ancient Band; Henri de Brianville, a supposed English knight and alchemist who lived during the reign of Charles I; Ayotte, a supposed French Huguenot artist, poet, musician, and occult alchemist from the 15th-century; Peter Korzakieff, a supposed Polish writer and scientist from the 15th-century; Mazeleel, a supposed high priest of the Magi of Nineveh, Assyria, active during the 7th-century BCE; Hiram Abiff, a pseudo-historical allegorical figure presented to candidates embarking on the third degree of Freemasonry and described as the chief architect of Solomon’s Temple; Pietro Vecchia, a supposed 5th-century ruler of a Venetian island republic called Rialto; Catullus, a supposed Roman metallurgist and descendant of poet Gaius Valerius Catullus employed during the reigns of Nero and Vespasian; Hassan al Meschid, a supposed Persian Magi who aided an insurrection against Cambyses II and declared himself King before being killed himself; Abd El Kader, a supposed Arabian chief from 1500 B.C. described as the father of Arabian chemistry and a direct descendant of Ishmael; and Adehl, a supposed Indian Hindu chief and necromancer that lived “8,000 years ago” and who utilized an Elixir of Life to live until the age of 180 before he was put to death.

Also present are depictions of supposed figures from the legendary ancient civilization of Atlantis, including Orondo (described as an eight foot tall expert in mining, a trusted advisor of head Atlantean ruler Yermah, and the progenitor of intermarriage alliances with indigenous tribes of North America following the fall of Atlantis) and Atyarrah (described as a military commander who was part of an expedition of North America and the constructor of earthwork defenses against Native American tribes, some of which yet remain in the Mississippi Valley).

Authentic historical figures represented amongst The Ancient Band include Archbishop of Canterbury Thomas Cranmer (1489-1556); Flemish painter Anthony van Dyck (1599-1641); French writer Philippe Quinault (1635-1688); Italian friar Giovanni Giocondo (1433-1515); English philosopher and statesman Lord Francis Bacon (1561-1626); medieval French polymath Peter Abelard (1079-1142) and his philosopher lover Héloïse d'Argenteuil (ca. 1095-1163 or 1164); Alfred the Great, King of the Anglo-Saxons (ca. 849-899); Greek philosopher Plutarch (ca. 46-after 119); Umar ibn al-Khattab, second caliph of the Rashidun Caliphate (ca. 583 or 584-644); Greek poet Pindar (ca. 518 BCE-ca. 438 BCE); Chinese philosopher and politician Confucius (ca. 551-ca. 479 BCE); and Gautama Buddha, Indian ascetic and founder of Buddhism (ca. 563 BCE or 480 BCE-ca. 483 BCE or 400 BCE).

• 1) “Dawn.” Born in Massachusetts 100 years ago, living only an hour.
• 2) Henri de Brianville. English Knight and Soldier of Fortune - Days of Charles I. [“1630” inscribed alongside caption]
• 3) Cranmer. Archbishop of Canterbury - Burned at the Stake in 1635.
• 4) Vandyke. The Great Flemish Painter - Pupil of Rubens - Died 1642.
• 5) Ayotte. French Hueguenot, Artist, and Alchemist - 15th Century.
• 6) Philippe Quinault. Distinguished French lyrical Author and Poet - Born 1635.
• 7) Fra Giocondo. Dominican Friar - Architect of St. Peters - Born in 1435.
• 8) Lord Bacon. High Chancellor of England, and Scientist - Born in 1561.
• 9) Peter Korzakieff. Polish Scholar and Scientist - time of Casimer, about 1460.
• 10) Abelard. Celebrated French Scholar - Lover of Heloise - Born 1079.
• 11) Heloise. Mistress of Abelard - Abbess of the Paraclete - Born 1101.
• 12) Alfred the Great. The Noblest Saxon Monarch of Britain - Died A.D. 900
• 13) Plutarch. The Greek Historian and Philosopher - Born A.D. 50.
• 14) Mazaleel. Most learned of the “Magi” in the best days of Nineveh.
• 15) Hiram Abiff. The “Widow’s Son” - Grand Master of Ancient Masonry.
• 16) Omar I. 2d Moslem Caliph - Conqueror of Syria and Egypt - 644.
• 17) Pietro Vecchia. Tribune of a Venitian Island Republic in the 5th Century.
• 18) Catullus. Roman Metallurgist and Jeweller, of the Time of Nero.
• 19) Pindar. Most famous of the Ancient Greek Poets - Born 520 B.C.
• 20) Orondo. Of Yermah’s Time - Father of the “Mound Builders.”
• 21) Hassan al Meschid. Persian Magian, Astrologer, and King - lived B.C. 500.
• 22) Atyarrah. Warrior of Yermah’s Time and Country, high in Rank.
• 23) Confucius. The Great Chinese Reformer and Sage - Born B.C. 551.
• 24) Gautama. Brahminical Reformer - Father of Buddhism - B.C. 557.
• 25) Abd El Kader. An Arabian Chief - Descendant of Ishmael. - B.C. 1,500
• 26) Adehl. Hindoo Necromancer - 2d Chief - lived 8,000 years ago.

The Weld-Grimké family album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. The photographs are almost all studio portraiture. While some of the individuals in the album have been identified (including Theodore D. Weld) the vast majority are unidentified.

The Weld-Grimké Family Album is a 12.5 x 16 cm bound cartes de visite photograph album with some tintypes and gem tintypes interspersed. The album has a brown leather cover with gilt clasps. The photographs all appear to date from the 1860s to the 1870s but there is no precise date for individual photographs listed. The album has a printed title page that reads "Photographs/Boston/Roberts Brothers." The album is 50 pages with each page containing a single slot for a photograph, though some pages have multiple photographs tucked into the same slot. There are 52 photographs in the album, 46 of which are cartes de visite. There are also 6 tintypes, 2 of which are gem tintypes. The photographs are almost all studio portraiture of individuals ranging from infanthood to old age. One exception to this is a photograph of a satirical drawing of an unidentified individual playing some sort of instrument (loose photograph on page 49). Some of the individuals in the album have been tentatively identified with the majority unidentified. One photograph (on page 24) has been speculated to be a portrait of Charlotte Brown, an African-American servant of the Weld-Grimké family, but this has not been confirmed.

• Theodore Dwight Weld (page 1, page 20)
• William Hamilton (page 4)
• Sarah Weld Hamilton (page 5)
• Angelina G. Hamilton (page 6)
• William Hamilton Jr. (page 7)
• Llewellyn Haskell (page 9)
• Llewellyn Thomas Haskell (page 12)
• Louis Olcott Haskell (page 13)
• Elizabeth "Lizzie" Cram (page 21)
• William James Rolfe (page 22)
• Theodore Weld Parmele (page 27, page 34)
• Elizabeth Smith Miller (page 28)
• Ann Carroll Fitzhugh (page 29)
• George Walker Weld (page 30)
• Gerrit Smith Miller (page 35)
• Ruth C. Bodwell (page 36)
• Rena Louise Twiss (page 45)

• A photograph of a painting of the Empress Eugenie. (page 33)
• A portrait of Rebecca an escaped slave from New Orleans. (page 38)
• A photograph of a painting of Beatrice Cenci. (loose item on page 41)
• A portrait of actor Edwin Booth (page 40) brother of John Wilkes Booth.
• A photograph of a painting of "Little Samuel" based on the etching done by Samuel Cousins. (page 43)

In addition to this finding aid, the Clement Library has created a Photographer Index for the album, containing the names of all the photographers in the order that they appear in the album. This index also records any handwritten inscriptions that were found on the photographs.

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.

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 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 Vistas de Guantánamo photograph album contains views of Guantánamo, Cuba, probably taken during or just before the Cuban Revolution of 1895-1898. Included are many images of military encampments and forts, as well as an image of a military hospital. Also several views of Guantanamo, local sugar production, and railroads.

The Vistas de Guantánamo photograph album (17 x 19 cm) contains 43 views of Guantanamo, Cuba, probably taken during or just before the Cuban Revolution of 1895-1898. Included are many images of military encampments and forts, as well as an image of a military hospital. Also several views of Guantanamo, local sugar production, and railroads (including a photograph of railroad workers and image of a derailed train). Each mounted print has a printed caption pasted below. The album has a black cloth cover with gilt title "Fotografias. Vistas de Guantamano." The printed title page reads: "Escalante y Hermano. Fotografos. Concha alta núm. 7. Guantánamo."

The Virginia, New York, and Massachusetts photograph album contains approximately 195 photographs depicting the travels and leisure activities of an unidentified Brooklyn-based family in various locations in Virginia, New York, and Massachusetts.

The Virginia, New York, and Massachusetts photograph album contains approximately 195 photographs depicting the travels and leisure activities of an unidentified Brooklyn-based family in various locations in Virginia, New York, and Massachusetts. The album (28 x 40 cm) has black cloth covers, with the front cover being detached. Images of interest include a series of photographs documenting an 1898 trip to Richmond, Virginia, including views of the Capitol, City Hall, St. John's Church, and other landmarks. Also present are 17 photographs showing Fort Monroe, Virginia, with an additional 11 images showing Old Point Comfort hotels, docks, a street view of Phoebus, Virginia, and waterfront views of the Hampton Roads region. New York-related photographs include views of carriage-driving and horseback riding at the Brooklyn Riding & Driving Club, and a summer home at Lake Mahopac, with views of people sailing, swimming, taking carriage rides on country roads, and women golfing. Massachusetts-related photographs include 12 images taken in Boston during 1899 including views of the Public Library and Faneuil Hall and three street views of Commonwealth Avenue.

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 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.

Views of Early St. Louis contains 27 photographs of scenes from St. Louis, Missouri, between 1840 and 1895 that were assembled by German American photographer Emil Boehl during the late-1890s, including several photographic reproductions of various works by other artists such as Daguerrean photographer Thomas M. Easterly.

Views of Early St. Louis contains 27 photographs of scenes from St. Louis, Missouri, between 1840 and 1895 that were assembled by German American photographer Emil Boehl during the late-1890s, including several photographic reproductions of various works by other artists such as Daguerrean photographer Thomas M. Easterly.

The album (35 x 45 cm) has red leather covers with “Views of Early St. Louis” stamped in gold on the front. Of the 27 photographs included in this album, 15 are pasted-in while 12 were printed directly onto the album pages. Images vary in size, with some taking up nearly an entire album page.

The following list represents the album’s contents in order of appearance and includes image titles (with supplied titles appearing in brackets), additional captions, various forms of Emil Boehl’s photographer credits, image descriptions, and original sources for images known to have been photographically reproduced by Boehl:

• Street scene looking south down 4th Street from Washington Avenue in 1840. People can be seen on horseback and mingling outside of residences. Several buildings are depicted, including steepled churches and the Old Courthouse. Photographic reproduction of a watercolor by commercial artist Albert Byron Greene in 1889. Writing present in the bottom right-hand corner of the original watercolor reads: “Made for Mrs. McKee Mar. 89. A. B. Greene.”

• View of Chouteau Pond in 1850. “Back of Chouteau Mansion on Clark Ave bet. 11th & 12 sts” inscribed on back of page. Photographic reproduction of original daguerreotype by Thomas M. Easterly, ca. 1850.

• View of numerous steamboats docked at St. Louis Levee. Photographic reproduction of original daguerreotype by Thomas M. Easterly, ca. 1852/53.

• View of the Old Spanish Fort (later Roy’s Mill, Riverfront). The steamer Wyoming can be seen near the riverbank. Photographic reproduction of original daguerreotype by Thomas M. Easterly, ca. 1850.

• View of the house of Pierre Chouteau on Main Street beside the Durkee & Bullock Banking House (possibly ca. 1865)

• View of the Planter’s House Hotel on 4th Street in 1865.

• View of Christ Church, demolished in 1860. Photographic reproduction of original lithograph by J. C. Wild published in 1840.

• View of Christ Church, demolished in 1860. Photographic reproduction of original lithograph by J. C. Wild published in 1840.

• View of the Old Cathedral (also known as the Basilica of St. Louis, King of France) located on Walnut Street between 2nd and 3rd Streets. “2nd & Walnut” inscribed on back of page.

• View of the Pierre Chouteau Mansion on Clark Avenue between 11th and 12 Streets. “Bet 11th & 12th on Clark Ave” inscribed on back of page.

• View of the first public high school in St. Louis located at the corner of 15th and Olive Streets. Large crowd of people gathered in foreground. “15th & Olive” inscribed on back of page.

• View of the old jailhouse located at the corner of 6th and Chestnut Streets. Illustrated clouds added through negative retouching. “Later Lynch’s Slave yard” inscribed on back of page.

• View of the house of James H. Lucas located at the southwest corner of 9th and Olive Streets. Image appears to be a photographic reproduction of another photograph. Partially cutoff writing present in the bottom left-hand corner of the original photograph reads: “…[B? or S?] [?] Lucas 1898.”

• Street scene looking north up 4th Street from Olive Street showing numerous pedestrians, buildings, and a trolley car.

• View of a residence on Olive Street between 6th and 7th Streets. Image appears to be a photographic reproduction of another photograph.

• Street scene looking south down Broadway from Olive Street showing numerous buildings and wagons.

• View of Centre Market building located at 7th and Poplar Streets.

• Lacking title. Possibly view of Fair Grounds Race Track, ca. 1876.

• View of St. Louis Medical College building (also known as Pope’s College) at 7th and Clark Avenue in 1876. Image appears to be a photographic reproduction of another photograph.

• View of the St. Louis Mercantile Library building. Image appears to be a photographic reproduction of another photograph.

• Bird’s-eye view of downtown St. Louis. Numerous buildings visible, including the old St. Louis Post Office (Custom House). One building near the foreground is marked with an “x” while an inscription on the roof of the building reads: “Broadway”; an additional inscription in the upper left-hand corner reads “x EHL. Born 1839.”

• View of the Grand Republic steamer.

• Street scene looking south down 12th Street from Washington Avenue showing horse-drawn carriages, numerous buildings, and a large crowd in the background gathered around the Statue of Liberty Replica at 12th and Pine Streets.

• View of Pope’s Theater with a group of people standing outside. “9th & Olive” inscribed on back of page.

• “Wash. Ave bet.” inscribed and crossed out on back of page; “68?” inscribed on back of page

• View of the St. Louis Exposition and Music Hall seen from the corner of Olive and 14th Streets

• View of The Elephant Rocks in the Saint Francois Mountains (now Elephant Rocks State Park). Graffiti can be seen etched into the rocks, while an unidentified man (possibly Emil Boehl) stands at center.

The Victor Leroy Rushfeldt, Jr., collection contains an assortment of materials including a diary, photograph album, paper files, and a VHS tape, all of which pertain to U.S. Army Air Corp pilot 1st Lt. Victory Leroy Rushfeldt, Jr.’s service in the 20th Combat Mapping Squadron during World War II.

The Victor Leroy Rushfeldt, Jr., collection contains an assortment of materials including a diary, photograph album, paper files, and a VHS tape, all of which pertain to U.S. Army Air Corp pilot 1st Lt. Victory Leroy Rushfeldt, Jr.’s service in the 20th Combat Mapping Squadron during World War II.

The diary (15 x 8.5 cm) contains entries written by Rushfeldt, Jr., during the year of 1941. In the first entry on New Year’s Day, Rushfeldt, Jr., expressed a desire to join either the United States Army or Navy as a pilot and wondered “where I will be next New Years?” After failing his physical service exam with the Navy due to “crooked teeth,” he decided to first finish securing his private pilot’s license before sending applications to the Army Air Corps on January 31. On March 8 1941, Rushfeldt, Jr., attended a physical exam for flying cadets at Fort Snelling where again he was told that they would not “O.K. my teeth” but was instructed to send a plaster dental cast to Washington, D.C. On March 21, he traveled to Abilene, Texas, before heading for San Diego, California by car on March 25. After hitchhiking to Los Angeles on April 4 he subsequently sought job opportunities in the area while staying at the home of a local couple, including applying for a position at the Lockheed Aircraft Co. and interviewing with the Vega Airplane Co., the latter of whom he felt he could’ve obtained employment with “except for the fact that I will probably be drafted soon.” On April 20, Rushfeldt, Jr., began hitchhiking back to Albert Lea, noting stops in Nevada, Colorado, Nebraska, and Iowa before arriving home April 27. On August 12, he recorded having completed his U.S. Army Air Corps physical exam while on August 15 he took his flight test for “Stage C of the secondary C.P.T.” Towards the back of the diary there are several phone numbers and addresses listed for friends and acquaintances as well as a “Brief History of My Flying Course” listing the duration and type (dual or solo) of Rushfeldt, Jr.’s training flights in Albert Lea from October 8 1940 to February 20 1941. Also of note are numerous entries involving women that Rushfeldt, Jr., was dating.

The photograph album (26 x 34 cm) contains approximately 114 images and is string-bound with brown covers. The album begins with a series of photos showing various young women, American servicemen in uniform, and older adults interacting at what appears to be a wedding reception. Subsequent photographs of interest include a portrait of fellow pilot Jerry Smith holding a large camera; images of various aircraft; portraits of various officers identified by pen inscriptions including “Lt. Connely,” “Lt. Everhardt,” “FO Luther,” “Lt. Raymer,” “Lt. Gireau,” “Capt. Lake,” “Lt. Thye,” “Lt. Riddle,” “FO Stone,” “Charles Enoch,” “Lt. Smith,” “Lt. Glenn Jensen,” and numerous photos (including group portraits) of Victor Rushfeldt, Jr.; images of campsites, barracks, and other buildings possibly in Nadzab, New Guinea; several images documenting the wreck of an F-7B aircraft nicknamed “Idle Curiosity” which crash landed on the Biak Island airstrip while Rushfeldt, Jr., was onboard; and several photographs of indigenous Papuans (including pictures of nude women and women breastfeeding animals). Also present are twenty-one images showing painted illustrations on the sides of various aircraft, many of which were designed Cpl. Al G. Merkling. Numerous illustrations involve nude or scantily clad women posing suggestively. Nicknames of documented planes include “The Wango Wango Bird,” “Photo Queen,” “Cherokee Strip,” “TS Sympathy Remembrance,” “I’ll Be Around,” “American Beauty,” “Hangover Haven,” “Little Joe,” “Round Trip,” “Liberty Belle,” “Patched Up Piece,” “Ready Willing and Able,” “Idle Curiosity,” “Pappy’s Passion,” “Sweet Sixteen,” “St. Louis Blues,” “V…-Sure Pop,” “The Rip Snorter,” “Bourbon Boxcar,” “Ole’ Tomato,” “Mission Belle,” and “Tail Wind.”

The paper files include an envelope of informational materials from the “Reunion Project Office b-24/50th Anniversary” related to the planning of a 1989 reunion event; an overseas document file case containing three souvenir buttons from the first and second 20th Combat Mapping Squadron reunion events in 1982 and 1984, several empty letter envelopes addressed to Rushfeldt, Jr., a register of Rushfeldt, Jr.’s vaccinations and other medical data from December 28 1941 to Jan 27 1945, and an official notice from March 7 1943 declaring that Rushfeldt, Jr., qualified as “Marksman” with a .45 caliber pistol after achieving a score of 106; and a vertical file containing numerous materials related to 20th Combat Mapping Squadron reunions, events, newsletters, and other documents, including a draft of “A Pictorial History of the 20th Combat Mapping Squadron, 6th Photo Group that Served so Honorably in the Southwest Pacific Area During WW II” consisting of photocopies of images donated by former squadron members and compiled by Maj. Lawrence E. Thibault, Sr.

The VHS tape purportedly contains footage of the "Idle Curiosity" crash on the Biak Island airstrip. Rushfeldt, Jr., was aboard this aircraft at the time of the crash.

The Vernon Foley photograph album (18 x 27 cm) primarily contains photographs taken in and around California and the West Coast of the United States. Many images feature a group of travelling men, likely Bell telephone linemen.

The Vernon Foley photograph album (17 x 19 cm) primarily contains photographs taken in and around California and the West Coast of the United States. Many images feature a group of travelling men, likely Bell telephone linemen. Images of note include: the Panama-Pacific Exhibition in San Francisco; a sleet storm in Portland Oregon; beaches in San Francisco; geysers at Calistoga, California; railroad travel; El Paso street scenes; a bullfight and Pancho Villa's train cars in Juarez, Mexico; hunting and camping scenes in Emigrant Gap, Wyoming, and Lake Fordyce, California; visiting with friends in Davis, California; and the burning of the Freeman Hotel in Auburn, California. One photograph shows a group of men wearing flu masks standing next to a truck with a Bell company logo; some captions refer to cutting wires during the sleet storm in Portland, and "trimming the right-of-way," and men are shown wearing leg shanks and climbing gaffs. Of note are scenes of the Armistice Day celebration in San Francisco, with many participants wearing flu masks. Most photographs are labeled with handwritten captions.

The album has black cloth covers and is tied with a black cord. Stored in three-part wrap with blue cloth spine.

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 Vera and Gene Foreman photograph albums consist of four volumes containing approximately 917 photographs and miscellaneous ephemera that document the experiences of Vera Irene Masuch and her husband-to-be Charles Eugene “Gene” Foreman in post-World War II Europe both before and after they first met as well as earlier trips taken by Vera and friends to various places in the United States.

Volume 1 (1942-1943)

This album (25.5 x 33 cm) has brown faux-leather covers and contains approximately 159 photographs as well as some postcards. Images include numerous snapshots of young men and women (including Vera) on a ranch in Green Mountain Falls, Colorado; coverage of visits to Pike's Peak, Denver as well as an unidentified tropical location; and photographs showing young men in military uniforms.

Volume 2 (1949)

This album (32 x 38 cm) has decorative dark blue faux-leather covers and white plastic ring binding and contains 50 photographs as well as some ephemera. Only five pages near the front of the album and two pages towards the back contain any photographs, most of which show American GIs (including Gene) in training camp settings primarily near the town of Friedburg, Germany, and engaging in social activities. Some but not all images have captions. Also present towards the back of the album are several loose images including real photo postcards showing travel scenes to European locations such as Paris, Naples, Rome, and Venice as well as a group portrait of a football team, a program dated December 2 1950 for a USAREUR football game between the 2nd RCT "Dragoons" and 16th Infantry Regiment "Rangers," and a souvenir from the Casa Blanca cocktail bar in Newark, New Jersey bearing Gene Foreman's signature.

Volume 3 (1949-1950)

This album (32 x 38 cm) has decorative black faux-leather covers and white plastic ring binding and contains approximately 580 photographs as well as some ephemera. Images include photographs (including football games) from the U.S. military base near Augsburg from 1949 to 1950; recreational visits to Augsburg, Berchtesgaden (including the Eagle's Nest), Garmisch, Bonn, Heidelberg, and Frankfurt am Main in Germany, Salzburg and Vienna in Austria, and locations in the Netherlands, France, and Italy; wounded American soldiers encountered during a visit to a hospital in Munich; and 24 views of the former concentration camp in Dachau. Other images of note include photographs of a wedding between Vera's friends Mary and John and sporadic images unrelated to post-war Europe that were taken during past vacations including trips to Colorado, Utah, and El Paso, Texas.

Volume 4 (1950-1951)

This album (34.5 x 28 cm) has red leather covers and red satin lining and contains approximately 125 photographs as well as some ephemera. The first page bears the inscription "Merry Christmas! Gene, 1951, Augsburg, Germany" as well as a photograph of Vera and Gene seated together at a table. Images include numerous snapshots of friends and soldiers engaged in social activities taken on the Augsburg military base as well as photographs (including real photo postcards) taken in other European locations such as Venice, Pisa, Florence, Cannes, Amiens, and Paris. Numerous individuals are identified through captions. Also present is a tissue with lipstick kisses and a tuft of blonde hair, while several photographs and ephemeral items are stored loose towards the back of the album.

The individual captioned as "me" in a number of photographs in Volume 3 appears to be Vera. She also appears regularly in the pictures of Volume 1 (also identified as "me" in captions) as well as Volume 4, but does not appear at all in Volume 2. Gene appears for the first time outside of Volume 2 in the final few pages of Volume 3, where he is initially introduced in a portrait with the caption "Gene Forman - Eibsee Hotel, June 1950"; this portrait is followed by a full page of photos of Gene. Given that Volume 2 seems to portray Gene's time in Friedburg and most of Volume 3 seems to represent Vera's personal experiences in Augsburg and traveling elsewhere in Europe, it appears that they may have been unacquainted prior to June 1950. By October 1950 the two appear to be acting as a couple, as documented in a travel bureau itinerary present at the end of Volume 3 that details a four-day program in Naples for "Miss Masuch and Mr. Forman." The couple also appears together in Volume 4, though in this instance the "me" captions refer to Gene and not Vera, suggesting that he was the primary creator of that album.

The Vacation travel photograph album contains a mixture of approximately 260 commercial and amateur photographs documenting a series of vacations to California, a Lake Michigan cottage, Alaska, and Canada.

The Vacation travel photograph album contains a mixture of approximately 260 commercial and amateur photographs documenting a series of vacations to California, a Lake Michigan cottage, Alaska, and Canada. The album (18 x 30 cm) has black cloth covers with two rivets. California-related photographs include views of beach scenes at Santa Catalina and La Jolla; the Theosophical Society Homestead and Temple on Point Loma; a cutler at work at his donkey-drawn cart; crates of fruit at a railroad station; passengers stretching their legs beside a stationary train; and Mount Lowe Railway and Observatory. Other Western photographs include views of pueblos and adobe buildings in New Mexico Territory.

A series of approximately 70 photographs taken in 1902 show a summer sojourn at Pine Knot Cottage, Macatewa, on Lake Michigan and includes interior and exterior cottage views, beach scenes, sailing a small boat on the lake, and views of the Hotel Ottawa. One whimsical snapshot shows a man standing on his head while being photographed by a man and woman holding a box camera. Images of a traveling party to Alaska include views of the group onboard a steamer and making stops in southeast Alaska; a street view of Wrangell; Tlingit totem poles in Wrangell and Fort Tongass; and commercial photographs of a Greek Church interior and Indian River Park in Sitka.

Additional photographs show Lake Agnes and the Canadian Rockies; Washington Park in Springfield, Illinois; Wall Street, Trinity Church Cemetery, and Grant's Tomb in New York City; Mission San Jose and Mission Concepcion in San Antonio, Texas; and bison and black bears, including a photograph of two men feeding a bear off the back of a wooden cart.

The Vacation days on the Cedar River photograph album contains 11 photographs of a summer cottage and vacation along the Cedar River, Cedar Rapids, Iowa in 1915.

The Vacation days on the Cedar River photograph album contains 11 photographs of a summer cottage and vacation along the Cedar River in 1915. The inside front cover page includes a typed note naming Miss Christine Peper, likely the owner of the album, and William Baylis, a landscape photographer based in Cedar Rapids. William Baylis' name can be found on the back of each photograph. The images show people canoeing, fishing, sawing, and eating watermelon on the porch of a small cottage. On the inside back cover page, below a photograph of the cottage, is a typed note stating, "This summer-cottage on the Cedar river is for rent by the day, week or month. EVERY SEASON." Two photographs appear to have been torn out.

The album is 18 x 14 cm with black paper covers. The front cover includes a pasted on photograph of a sailboat. "Vacation Days on the Cedar River - Billy's Cottage, 1915, Cedar Rapids, Iowa" is handwritten on the front cover in white

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 Upper Michigan vacation photograph album contains approximately 125 photographs and 1 program related to summer vacations in northern Michigan and the Upper Peninsula.

The Upper Michigan vacation photograph album contains approximately 125 photographs and 1 program related to summer vacations in northern Michigan and the Upper Peninsula. The album (25.2 x 21 cm) is half bound in burgundy leather with black cloth boards. Photographs of interest include views of tent camping on the shores of Brevort Lake in Mackinac County, with outdoor cooking, picnics, local Ojibwa guides operating a boat named the "John Boucher", fishing and boating, berry picking, and a group of Ojibwa Indians including "Chief Tail Feather" performing for the camera; snapshots of "Old Mr. Massey, the Blacksmith of Brevoort," inside his log cabin; and the exterior of the cabin of Frank Budney, trapper and guide, with snow shoes and a hand-made grinding wheel. Mackinac Island-related photos show the fort and Arch Rock. Also included are photographs taken on the Detroit River showing a revenue cutter (the USS Yantic) and a sailing ship loaded with lumber; there is one photograph of the railroad ferry Saint Marie, and one photograph of the locks at Sault Ste. Marie. Many photos have manuscript captions and are dated.

Also present is a laid in program from the 1890 Columbus (Ohio) High School Graduation ceremony.

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

This volume contains carte-de-visite portraits of soldiers who served in the 47th Pennsylvania Infantry Regiment during the Civil War, additional loose photographs, and colored lithographs of Union generals.

This pocket album primarily relates to the 47th Pennsylvania Infantry Regiment. The first four images are colored printed portraits of Winfield Scott, George McClellan, Fitz John Porter, and George Stoneman. An additional printed image of the Battle of the Monitor and Merrimack appears later in the volume. The bulk of the items are 31 cartes-de-visite with formal photographic portraits of soldiers in uniform. The few named soldiers all served in the 47th Pennsylvania Infantry Regiment. Three loose photographs of William H. Gausler and two unidentified men (neither in military uniform) are laid into the back of the volume.

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 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]

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.

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 Toll-Mitchell-Clark family photograph album includes photographs of residences belonging to the Toll, Mitchell, and Clark families in upstate New York and Los Angeles, California, as well as studio portraits of various family members. The album also contains deeds, financial records, and other manuscripts related to the Toll, Mitchell, and Clark families.

This collection is comprised of a photograph album and three groups of manuscripts related to the Toll, Mitchell, and Clark families of upstate New York and Los Angeles, California.

The photograph album (27cm x 32cm) contains 30 photographs: cabinet cards, card photographs, and photo postcards laid into the volume. The first several images are exterior views of Toll and Mitchell family homes in Baldwinsville and Memphis, New York, sometimes with family members present. Other images show the Baldwinsville cemetery, the interior of A[sabel] K. Clark's music store, and interiors of the Clark family home in Los Angeles, California. The remaining items are mounted studio portraits of Toll and Mitchell family members; photographs of Truman Mitchell, Sarah Hyde Toll, Sophia Hinman Mitchell, and Abel Hyde and Sarah Mitchell Toll with manuscript wills mounted on the back, dated as early as 1856 and as late as 1893. Two images are duplicated: a portrait of Abel Hyde and Sarah Mitchell Toll (2 copies) and a photographic postcard featuring an unidentified residence (7 copies). The album's purple cloth cover originally had the title "Photographs" stamped front and back; the text is now faded.

The remaining items are approximately 34 manuscripts related to the Toll, Mitchell, and Clark families, including deeds, bank checks, financial records, wills, and correspondence. The deeds relate to land in upstate New York, and a few items pertain to estate administration. Personal letters from Laura F. Clark of Los Angeles, California, to her father are also present, as is a marriage certificate for Mariah Mitchell [sic] and Oliver Glass.

The Thomas M. Bridges Crow Creek and Fort Hall Reservations collection contains approximately 242 photographs in 5 albums, 13 loose photographs, a Catlinite pipe bowl, and a ball headed war club. These materials were associated with Dr. Thomas Miller Bridges, a physician and surgeon who was employed on Native American reservations during the late 19th and early 20th centuries.

The Thomas M. Bridges Crow Creek and Fort Hall Reservations collection contains approximately 242 photographs in 5 albums, 13 loose photographs, a Catlinite pipe bowl, and a ball headed war club. These materials were associated with Dr. Thomas Miller Bridges, a physician and surgeon who was employed on Native American reservations during the late 19th and early 20th centuries.

Photographs

Volume 1: This album (18.5 x 29.5 cm) has pebbled black faux leather covers with “Photographs” stamped in gold on the front and contains 51 photographs, all of which pertain to Crow Creek Reservation and primarily date to ca. 1892-1896. Detailed printed captions have been cut and pasted beneath every image in the album. Several captions have dates that were crossed out for unknown reasons. A handful of images also have numbers inscribed next to them. It is uncertain who took the majority of these photographs, though at least one photograph included in this album (a studio portrait of “White Ghost,” Yanktonai chief) has shown up elsewhere on mounts produced by a photographer based in Chamberlain, South Dakota, named H. B. Perry. It is possible that Perry produced a substantial number of the photographs in this album. Dr. Bridges may have also contributed many photographs.

• Portrait of Anna Lee Bridges at 18 months old
• Group portrait captioned “With the Sioux, an Indian’s home” that shows Dr. Bridges standing outside of a home next to a Native American family
• Group portrait of Crow Creek Agency employees including William Fuller (carpenter), R. Ryerson (blacksmith, miscaptioned as “N. Ryerson”), Joseph Wertz (miller), S. M. Childers (farmer), and Dr. Bridges
• Multiple views of Crow Creek Agency buildings including the physician’s residence, Grace Howard Mission School, church and parsonage (William Fuller also appears in this image), hospital, aspects of the Crow Creek Indian School complex (including the girl’s and boy’s buildings, school rooms building, and dining room), and trader’s store
• Group portrait of five men holding various tools captioned “the blacksmith and his helpers”
• Two photographic reproductions of oil-on-canvas paintings by agency carpenter William Fuller, including a depiction of a scaffold burial overlooking Lower Brule Reservation painted ca. 1882 and a bird’s-eye view of the Crow Creek Reservation painted in 1893
• Image captioned “A war party of Sioux Indians, So. Dak., 1893” that is possibly related to Sun Dance-Fourth of July celebrations
• At least four images related to beef issue on Crow Creek Reservation
• Three images documenting the transportation and assemblage of 500 wagons that were granted for issue at Crow Creek Reservation
• Group portrait of members of the Crow Creek Indian Police
• Group portrait of three men identified as “Burned Prairie,” “Robt. Philbrick” (Robert Philbrick, also known as Tahcaduzahan/Swift Deer), and “Wounded Knee” who are described as “Judges of the Court of Indian Offenses, Crow Creek Indian Agency, S.D.”
• Group portrait of Crow Creek Agency employees including Robert Smith (blacksmith), Iron Shield (policeman), Dr. Bridges, Joseph Sutton (farmer), J. F. Geigoldt (issue clerk), J. C. Fitzpatrick (chief clerk), Fred Treon (U.S. Indian agent), and Thomas Stevens (assistant clerk)
• Studio portraits of “‘White Ghost’, Chief of the Yanktonai Sioux” and “‘Iron Nation’, Chief of the Brule Sioux,” both of whom can be seen wearing mixtures of western and traditional clothing and holding objects such as a turkey feather fan, rifle, and pipes
• Group portrait of two women wearing dentalium shell earrings (one of whom carries a child on her back) identified as “Fire Tail” and “Visible Lightning” posing outside of a tipi next to an empty chair draped with a blanket
• Outdoor portrait of a man identified as “Two Crow” seated outside of his log cabin home
• Outdoor portrait of a man identified as “Talking Crow” holding a rifle and wearing a feather headdress, arm bands, and otter fur breastplate fitted with mirror discs while sitting on a horse dressed in a buffalo scalp horse mask (images of horses wearing these masks are exceedingly rare)
• Outdoor portrait of “‘Bull Ghost’, a sub-chief of the Yanktonai Sioux” seated before a tipi on a blanketed chair wearing a mixture of western and traditional clothing including an otter fur turban, hair feather, moccasins, and wool leggings while holding a tobacco bag, tomahawk, and pipe
• Group portrait of ten schoolgirls posing with teacher Mary A. Reason
• Photograph taken outside the home of a medicine man named “Eagle Dog” (possibly the man standing at left wearing a grizzly bear claw necklace) showing pots, pans, chairs, and animal skins drying
• Group portrait captioned “A dancing party of Sioux Indians” showing nine men gathered around a drum while dressed in traditional clothing including otter fur bandoliers, moccasins, leg garters affixed with dance bells, an otter fur breastplate, and a split horn war bonnet
• Photograph showing several men on horseback captioned “A band of Sioux, at the Agency, July 4th 1895?” with the year listed in the caption crossed out.

Volume 2:This album (18 x 30 cm) has pebbled black leather covers and contains 5 photographs. While no captions or dates are provided, most of these images were likely taken ca. 1910. Four of the images are outdoor group portraits that appear to have been taken during a lakeside cottage trip to an unidentified location, possibly somewhere near Idaho Falls or Yellowstone National Park. A young girl (likely Berenice Bridges) appears in three photos wearing a white dress, while Dr. Bridges likely appears in two photos sporting a long beard. Several other unidentified individuals (likely including Maggie and Anna Lee Bridges) are also present in these images. The fifth photograph in this album is a group portrait of four unidentified individuals, including three Native American people (two older adults and one child) and a white woman, standing outside of a tipi.

Volume 3: This album (19 x 26 cm) has red string-bound cloth covers with “Photographs” stamped in gold on the front cover and contains 47 photographs, the majority of which document aspects of Fort Hall Reservation and primarily date to ca. 1896-1899. Detailed printed captions have been cut and pasted beneath most images in the album. A handful of images also have numbers inscribed next to them. While some images may have been produced by Dr. Bridges himself, many of these photographs (especially images from regions outside of Fort Hall Reservation) were likely taken by other photographers.

• Group portrait of the “Conn. Indian Association Scholars and others,” with missionary, educator, and close friend of the Bridges family Amelia J. Frost identified in the lineup
• Images of various Fort Hall Agency buildings such as the Fort Hall Indian School, the physician’s and agent’s residences, main office
• Several pictures of Fort Hall Indian School employees and students including a group portrait of the Fort Hall Indian School brass band
• Photograph showing a well being bored
• Several images documenting a train wreck on the O.S.L.R.R. at Ross Fork, Idaho
• Outdoor portrait of Cahuilla basket maker Ramona Lubo captioned “Ramona at Cahuilla”
• Photograph of human remains inside of a coffin captioned “Sioux grave, method of bur-ial in the sixties, after the Government stopped bur-ial in trees or on scaffolds”
• Two photographs, including one captioned “Dress Parade,” that show two unidentified Native American men wearing traditional clothing (the man wearing a bone hairpipe breastplate may possibly be Levi Levering, also known as He’-con-thin’ke or White Horn, an Omaha Indian teacher at Fort Hall Indian School)
• Three images showing US Army 4th Cavalry Troop F performing drills
• Group portrait of Anna Lee Bridges with friends “Eulia Churchill” and “Maggie Funkhouser”
• Group portrait of two white girls identified as “Maggie & Bertie Funkhouser” wearing Native American costumes
• Group portrait of Fort Hall Agency employees taken in 1899 including W. H. Reeder (carpenter), C. M. Bumgarner (farmer), Dr. Bridges, P. J. Johnson (blacksmith), M. Timsanico (interpreter), Paul Bannock (stableman), W. H. Evans (farmer), E. C. Godwin (clerk), Lieut. F. G. Irwin (acting agent), C. M. Robinson (issue clerk), and Ed. Lavatta (farmer)
• Four images related to the Warm Springs Indian Agency in Oregon
• Two views of the San Gabriel Mission Church, one of which was produced by Warren Bros.
• Two views of Mt. Putnam
• Group portrait of Native American boys of various ages wearing military-style uniforms captioned “School boys, Ft. Hall Indian School, Idaho”
• Group portrait showing the family of Old Ocean (Bannock guide said to have aided Lewis and Clark) aged “112 yrs old.”

Volume 4: This album (23 x 26 cm) was produced by the Eastman Kodak Company and has string-bound black cloth covers with “Photographs” embossed in gold on the front cover. It contains 85 photographs, the majority of which document aspects of Fort Hall Reservation and primarily date to ca. 1896-1899. Detailed printed captions have been cut and pasted beneath many images in the album. Dr. Bridges possibly produced all or most of these images and captions himself.

• Several views of various Fort Hall Agency buildings
• Several views related to travels in Teton Pass, Jackson Hole, and Snake River in Wyoming
• View of the “Conn. Indian Association Mission School” with an additional manuscript caption stating “Miss [Amelia] Frost’s first mission"
• Several group portraits of Native American and white cowboys
• Outdoor portrait of an unidentified Native American man on horseback wearing a split horn bonnet
• Two images related to Fort Hall Agency beef issue
• Image showing several people examining an older Native American woman captioned “Granny Pokibro, on parade”
• Multiple images that include Anna Lee Bridges
• Several images showing members and officers (including Lieut. Holbrook and Capt. Hatfield) of US Army 4th Cavalry Troop F
• Three photos of Omaha Indians including two portraits of an unidentified Omaha man (possibly Levi Levering) wearing a feather headdress as well as a group portrait showing Levi Levering sitting beside his wife Vena Bartlett Levering while she holds their infant child
• Group portrait of three members of the Fort Hall Reservation Police crossing Snake River
• Images of geysers, waterfalls, and other scenery likely taken at Yellowstone National Park
• Two solo portraits (including a man identified as “F. M. Parsons”) of men standing at the top of the Malad Divide
• Portrait of a young child identified as “Little Bill Mo-cats Jr.”

Volume 5: This album (18 x 29 cm) has black pebbled faux leather covers and contains 54 photographs primarily related to Fort Hall Reservation ca. 1896-1899. Detailed printed captions often including sequential numbers have been cut and pasted beneath most images in the album. Some album pages have missing photographs with captions still present. Dr. Bridges may have produced many of these images and captions himself.

• Three group portraits of a Fort Hall Agency employee picnic held near the head of Ross Fork Creek in 1898
• Image showing “Bannock and Shoshoni Indians horse racing” far in the distance
• Image of hay being stacked at Fort Hall Agency
• Several views of various Fort Hall Agency buildings including the carpenter’s residence, physician’s residence, and agent’s office
• Outdoor portrait of an unidentified Bannock girl on horseback captioned “No. 67. Bannock Indian Girl, showing squaw saddle”
• Group portrait taken in 1899 of Levi Levering (far right) and Rueben P. Wolfe (far left), both Omaha Indian teachers employed at Fort Hall Indian School, posing with their wives Vena Bartlett Levering (second from right holding infant) and Rose E. Cordier (second from left, also known as Rose Wolf Setter and Rose C. Setter)
• Group portrait of two white girls dressed as “Imitation Indians”
• Group portrait of several Omaha Indian men likely visiting Fort Hall Reservation dressed in “handsome native dress of buck-skin & beads”
• Two halftone reproductions of photographs taken by Lee Moorhouse in October 1898 of infant Cayuse twins Emma and Edna Jones (also known as Tax-a-Lax and Alompum) in cradleboards (miscaptioned in album as “Umatilla Indian twins”)
• Image of a scaffold burial captioned “a man and his wife buried in 1872, this negative was made in 1886”
• Photos of a Chinese merchant and a Chinese grave at Fort Hall Agency
• Eight images documenting a rabbit drive
• Portrait of Old Ocean “age 112”
• Three images of buildings in Salt Lake City, Utah, identified as the “Mormon temple,” the “Bee-hive,” and “Eagle Gate”
• Portrait of an unidentified man standing inside of the dispensary at Cheyenne River Agency, South Dakota
• View of an uncovered sweat house
• Six images showing various buildings, issue day, and hay work scenes at San Carlos Agency, Arizona
• Photograph showing a man and dog outside of a building captioned “Pump house, Lower Brule, S.D.”
• Image of a building with a sign above the front entrance reading “Govt. Trading Post.”

Loose Images: Also present are 13 loose photographs. Items of interest include an unmounted photographic reproduction of a ca. 1880 lithograph depicting a group of Native Americans preparing a scaffold burial with a typed caption on the verso reading “Scaffold burial, as practiced by the Crow Indians, elevating the corpse to the scaffold. (Copied by permission, from the 1st annual report of the Bureau of Ethnology)”; an unmounted group portrait of several Mohave people including two women and seven children; an unmounted portrait of an unidentified Native American man seated outside of a dwelling made of mud and straw captioned “An old time medicine man and his hut”; an unmounted group portrait taken outside a Fort Hall Reservation building captioned “School House, teacher & pupils at Ross Fork”; an unmounted view of a building captioned “Fort Hall. Location. The old adobes”; a studio portrait of an adult Anna Lee Bridges wearing a nurses uniform taken by F. R. Lambrecht, likely ca. 1918; and a studio portrait of Berenice Bridges as a child.

Realia

The first piece of realia is a pipe bowl (7.5 x 3.5 x 3 cm) made from Catlinite that likely dates to the 1850s and is most probably of Lakota/Dakota origin.

The second piece of realia is a ball headed war club (54 x 15 x 6 cm) that likely dates to the 1860s and is most probably of Lakota/Dakota origin. The club is made entirely of carved wood. The ball head is painted black and is lacking a spike while the main body is decorated with brass upholstery tacks on one side.

Both of these items were likely acquired by Dr. Bridges as a result of his personal interest in Native American material culture.

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 Thelma Clevenger school friendship book contains one map, approximately 225 photographs of friends, family, and students, and 38 pieces of ephemera from Ohio from 1920 to 1925.

The Thelma Clevenger school friendship book contains one map of Freedom (Ohio), approximately 225 photographs of friends, family, and students, and 38 pieces of ephemera from Ohio from 1920 to 1925. The book begins with class and school information followed by notes from friends and calling cards of classmates.

Much of the book contains photographs of students, friends, family, vacationing, pets, swimming, fellow teachers, and portraits. Many photographs include handwritten notation stating names, dates, and location. The last portion of the book includes newspaper clippings of a wedding announcement and the death of President Warren G. Harding, multiple programs and tickets for events and performances, a letter of appreciation from the parents of a student, and two drawings of "Virgil Fritsch."

The book is 15.5 x 22.75 cm with blue cloth covers. "School Friendship Book" is stamped on the front cover in gold.

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.

This photograph album contains pictures taken during the World's Columbian Exposition (World's Fair) in Chicago, Illinois, in 1893. The album includes several interior views of the New Jersey educational exhibit in the Liberal Arts Building and exterior views of the exposition's large thematic buildings, individual state pavilions, international cultural exhibits, and statues.

This photograph album (31cm x 23cm) contains 105 pictures taken during the World's Columbian Exposition (World's Fair) in Chicago, Illinois, in 1893. The title Views of the World's Fair is stamped in gold on the front cover, along with an image of the Statue of the Republic. A second title, World's Fair Photographs, Including Views of the New Jersey Educational Exhibit, is printed on the first page. With the exception of two larger prints, items are pasted two to a page, above manuscript captions.

The album includes a group of rare interior views of the displays in the Liberal Arts Building. Featured are the New Jersey educational exhibit, the packing of displays after the fair's closure; views of international cultural exhibits; statues, and artifact displays. The majority of the album is comprised of more common exterior views of the exposition's large thematic and individual state pavilions. Many of the main structures, such as the Administration Building, Liberal Arts Building, Electricity Building, and the Palace of Mechanical Arts, are shown from a variety of perspectives, along with smaller structures representing many U.S. states.

Also shown are views of the nautical vessels displayed at the fair including the replica battleship USS Illinois, a replica of Columbus's Santa Maria, a replica Viking ship, and the fair's gondolas and similar smaller boats. Photographs of the Wooded Island and the Midway Plaisance also appear in the album. Of particular note are the pictures of ethnographic displays including Native American shelters and a group of "Dahomey Villagers." A series of photos taken on "Chicago Day," October 9, 1893, shows the crowds that set the world record for outdoor event attendance.

The Souvenir of Orlando, Florida photograph album contains 42 photographs of the southeastern United States from ca. 1940 to 1950.

The Souvenir of Orlando, Florida photograph album contains 42 photographs of the southeastern United States from ca. 1940 to 1950. Photographs show steamboat tours of New Orleans (Louisiana), a replica tourist attraction of Native American trading posts, a harbor, construction, laborers harvesting crops, and a parade.

The album is 16.5 x 12.75 cm with brown artificial leather covers. "Snapshots / Souvenir of Orlando, Fla." is stamped on the front cover in silver.

The Southwestern automobile travel photograph album (14.5 x 20.25 cm) contains 102 snapshots, most of which document an automobile trip in the United States and Mexico. The images feature bullfighting, camping, fishing and picnicking.

The Southwestern automobile travel photograph album (14.5 x 20.25 cm) contains 102 snapshots, most of which document an automobile trip in the United States and Mexico. The images feature bullfighting, camping, fishing and picnicking. Also included are images of hot springs and a fence made entirely of antlers.

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 Southern tour collection contains photographs from a traveling party's visit to several locations in the southern United States, including Civil War battlefields, in March 1885, as well as a printed booklet containing sketches of people and various locales.

The collection contains 19 card photographs (13 x 21 cm). Many of these photographs show groups of men at "Magnolia," at the site of the Battle of Seven Pines (Fair Oaks), by a New Orleans train depot, and at Castillo de San Marcos in Saint Augustine, Florida; in one photograph, several men are picking strawberries. Other images show a wooded area in Mississippi, relics on a battlefield, Fort Sumter, and Fort Moultrie near Charleston, S.C. The booklet, entitled "Taylor, His Sketch Book, 1885," contains reprinted drawings of men and women (often with captions which are occasionally humorous), and of buildings in Saint Augustine, Florida. Some of the drawings depict African Americans. The card mounted photographs are bound in a red leather wrapper with the title "136 March 13-28 1885" in gold on the cover.

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 Sophie Toclanny Photograph Collection consists of 25 postcards (including 15 real photo postcards and 10 color printed cards) and 2 photographic prints, most of which were sent by Chiricahua Apache woman Sophie Toclanny to a white American family living in Pennsylvania in the early twentieth century.

The Sophie Toclanny Photograph Collection consists of 25 postcards (including 15 real photo postcards and 10 color printed cards) and 2 photographic prints, the majority of which were sent by Chiricahua Apache woman Sophie Toclanny to a white American family living in Pennsylvania in the early twentieth century.

The collection contains postcards and photographs sent by Sophie to the family of George K. (1870-1937) and Susan E. Geiser (1871-1939) living at 731 Moss St., Reading, Pennsylvania. It is unclear how Sophie came to know the Geiser family; it is possible that she made their acquaintance through either of her first two husbands, both of whom graduated from the Carlisle Indian Industrial School in Carlisle, Pennsylvania. Her messages to the Geiser family indicate that she had a close, ongoing relationship with them. Sophie inquires about Geiser family members including their son William “Bill” G. Geiser (1891-1924), refers to gifts she is sending them such as a traditional Apache cradleboard, and expresses dismay that they are not writing her as often as she would like. One undated real photo postcard bears an image originally taken by Edward Bates of an unidentified Comanche woman carrying a child in a cradleboard; Sophie's message states that “They [the Comanche] dress all to gather [sic] different from the way we dress. I am sending you one of my self in Indian dress too.” In another undated real photo postcard showing another Bates photo captioned “Apache Babe and Cradle”, Sophie writes that she is “sending you a cradle like the Apache make for their babies. On this card a real one. This was taken out in their hay camp. I am so sorry that I was so long in sending it. But hope you will like it.” A number of postcards show wear or damage on the corners, suggesting that they were likely kept in an album for some period of time.

Sophie identifies herself and other family members in several of the real photo postcards. In one photograph showing six people posing on rocks near a dam waterfall on the Mescalero Reservation, Sophie identifies herself as the individual at left “sitting down by my little sister.” The young girl in this photograph is likely Sophie’s younger sister Edith, while the “married sister” standing at right is likely Emma. Both Edith and Emma appear in multiple photographs. Unidentified individuals in the family photos include an uncle, a cousin, the husband of said cousin, and a white woman who apparently married another one of Sophie’s uncles.

Other items of particular interest include postcards with images of Apache camps in Oklahoma and New Mexico; the Apache mission at Fort Sill; the funeral of Comanche chief Quanah Parker; portraits of Indian families (including a group portrait of a Sac & Fox family by W. H. Martin), mothers, and women; and portraits of famous Native American chiefs including Sitting Bull, Geronimo, Eagle Feather, and Red Cloud. The Red Cloud postcard bears the message “From a friend you have forgotten. But she never will forget you. Ft Sill Friend.”, while the Geronimo postcard reads “I received the pretty card to-day. I was glad to get it. So in return I thought I will send you one of Geronimo. I guess you all heard of him. What ever became of William. How is little girl now. From Sophie.” The postcards bearing images of Red Cloud, Eagle Feather, and Sitting Bull are all based on reproductions of original paintings by L. Peterson that were photographed and copyrighted by H. H. Tammen in the early twentieth century. Other color printed postcards include images of Pueblo Indians selling pottery, a Pueblo Indian infant, an Indian camp scene at the 101 Ranch in Bliss, Oklahoma, and an illustrated scene of an Indian woman going over a waterfall in a canoe titled “Red Man’s Fact.”

One color printed postcard bearing a portrait of Mohawk chief Bright Canoe was produced in the 1960s and thus could not have been included by Sophie.

Several real photo postcards include photographs taken by Edward Bates (1858-1941). Based in Lawton, Oklahoma, Bates took numerous portraits of Native Americans living at nearby Fort Sill. Bates is known to have produced at least one portrait of Edith Toclanny, and it is possible that he photographed other members of the Toclanny family.

This album contains two titled groups of photographs: Snap Shots on Ranch and Gold-Claim in Colorado and Idaho in September 1895 and Kodak Peeps at Colorado in October, 1893. The photographs of ranches, cowboys, prospectors, and scenery in Idaho and Colorado are often accompanied by lengthy captions. A small group of photographs shows land near Pike Lake in Minnesota.

This album (24cm x 37cm) contains two titled groups of photographs: Snap Shots on Ranch and Gold-Claim in Colorado and Idaho in September 1895 (28 items, pp. 1-105) and Kodak Peeps at Colorado in October, 1893 (19 items, pp. 111-187). Additional items include five pictures of land near Pike Lake in Minnesota (pp. 159, 161) and a picture of a home in Poughkeepsie, New York (pp. 186-187). The volume has hard green covers, with the words "Colorado '93 & '95" stamped in gold the black spine. C. S. Green signed the first page, and each section opens with a title page, the text in stylized letters. The photographs of Colorado and Idaho are early Kodak prints.

In both 1893 and 1895, the photographer took pictures of settlers and scenery in Idaho and Colorado, particularly in and around Market Lake, Idaho; Menan, Idaho; Manitou Springs, Colorado; and Powderhorn, Colorado. Pictured buildings include homes, a small hotel, the signal station and cog railroad on Pikes Peak, and railroad stations; railroad tracks and trains are featured in a few items. Portraits of prospectors, cowboys, and ranchers are included. Captions, often lengthy, describe numerous aspects of life in the West, such as the crops and geography of Idaho and gold mining, ranching, and mineral resources in Colorado. The author also commented on less-visited areas of Colorado and prominent features such as the Continental Divide. Laid into the volume are brief essays on a dog named Bobby (1 page) and the Snake and Yellowstone Rivers (3 pages). These appear on the letterhead of Charles S. Green of Roaring Branch, Pennsylvania.

The Smith College, Hampton, Va., area and Connecticut photographs consist of approximately 300 photographs in 1 album and 1 folder. Images include photographs of Smith College as well as scenes from Connecticut and southeastern Virginia.

The Smith College, Hampton, Va., area and Connecticut photographs consist of approximately 300 photographs in 1 album and 1 folder. Images include photographs of Smith College as well as scenes from Connecticut and southeastern Virginia. Smith College photographs include dorm room interiors, women on campus, and a college basketball game. Connecticut scenes show a Connecticut River ferry, women boating and swimming in Bantam Lake, and St. Margaret's School in Waterbury, Connecticut. Also depicted are buildings at Hampton Institute in Virginia, a variety of boats and warships, likely on the Chesapeake Bay, winter fishing, "oyster canoes" (skipjacks) and men unloading crabs at the factory. Other Virginia photographs show buildings in pre-restoration Williamsburg and rural life, possibly in the Williamsburg area, with rundown shacks, African Americans, ox-drawn carts, and a group of African American school children. Views from unidentified locales include rural scenes, streams and country roads, beaches, dwellings, family life photos with children in a variety of settings, posed Grecian tableaux, and a studio portrait of a man dressed in Native American clothing holding a la crosse ball and stick. Additional photographs include Jamestown church ruins, Deerfield Memorial Hall with several interior views, 7 photographs of interior rooms in an unidentified house, and canal views, possibly of the Dismal Swamp Canal.

Identified individuals include: Grace Collins Lathrop, Sue Boss, Sue Gardner, Alice Bishop, Fanny Coit, Emma Kelsey, Arthur Eggleston, Percy Eggleston, Henrietta Spear, Nellie Spear, Theodate Pope, Ethel Fiefield, and Mary Lewis.

The album is half bound in burgundy leather and is stored in a three part wrap with green cloth spine

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 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 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.

Shadowed Liveries of ye Burning Sun is a carte-de-visite album containing pictures of monuments, buildings, and people in present-day Belgium, Germany, Scotland, Wales, and Ireland.

Shadowed Liveries of ye Burning Sun is a carte-de-visite album (16cm x 12cm) containing 47 pictures of monuments, buildings, and people in various European countries; one additional item is an unidentified silhouette. The volume's red pebbled cover has a metallic gold border and raised geometric designs; the book also has two metal clasps. A formal title, "Shadowed Liveries of ye Burning Sun. Animum Pictura Pascit Inani," is written in red and blue Gothic letters on the first page. With the exception of a silhouette and studio portrait at the back of the album, each photograph is captioned with its location and subject; the captions are written in red Gothic letters.

Most of the photographs show religious buildings, statues and memorials, castles, natural scenery, and street scenes in numerous cities and towns in present-day Germany, Belgium, Scotland, Wales, and Ireland. Some of the pictures were taken in large cities and others in German spa towns. Monuments include statues of prominent German historical figures and memorials at Waterloo. Pictures from Scotland show Lochs Ness and Lomond, as well as several castles, and one view from Frankfurt features the Hauptsynagoge, which has since been destroyed. The album contains six portraits of men and women in Belgium and in Bad Oeynhausen and Minden, Germany, including one of a female lace maker, two of women in "Antwerp costume," and three of boys and girls in "gala costume" posing next to a spinning wheel, with vibrant hand coloring. Two other items show a woman standing next to a milk cart and a man standing next to a bread cart, both pulled by dogs. The subjects of the silhouette and final studio portrait are unidentified. The silhouette is dated January 31, 1890. The studio portrait was taken in a Dublin studio.

Seven Mile Funeral Cortège of Genl. Grant in New York August 8, 1885, contains 79 photographs documenting the death and funeral of Ulysses S. Grant.

Seven Mile Funeral Cortège of Genl. Grant in New York August 8, 1885, contains 79 photographs documenting the death and funeral of Ulysses S. Grant.

The album (38 x 47 cm) is bound in brown leather with “Seven Mile Funeral Cortege of Genl. Grant in New York August 8, 1885” stamped in gold on the front cover. The album was published by the U.S. Instantaneous Photographic Co. in Boston, Massachusetts, in 1886. The album begins with portraits of Grant and various family members before delving into scenes from “General Grant’s Last Days” at Mount McGregor, New York, and subsequent funeral preparations. Numerous images show scenes from the day of Grant’s funeral including views of the catafalque and funeral parade through New York City. Many images exhibit signs of extensive manipulation through retouching and montage work. Also of interest is a page in the middle of the album explaining how the U.S. Instantaneous Photographic Company would be placing albums at several hotels around New England “for free inspection of the public” while admitting “first-class advertisements” at premium costs.

The Schuylkill Arsenal photograph album is a 26.5 x 35 cm photograph album with a black leather cover. The album contains 12 18 x 23 cm albumen prints, all of which depict various buildings and streets at Schuylkill Arsenal. Also present in many of the photos are various unidentified individuals, presumably most are Arsenal workers but also women and children.

The Schuylkill Arsenal photograph album is a 26.5 x 35 cm photograph album with a black leather cover. The album contains 12 unattributed 18 x 23 cm albumen prints, all of which depict various buildings and streets at Schuylkill Arsenal. Also present in many of the photos are various unidentified individuals, presumably most are Arsenal workers but there are also women and children. There may have been a 13th photograph within the album at one point, no longer extant; the back of each photograph is numbered sequentially in pencil, skipping number 8.

Nothing within the actual album gives a precise date for the photographs, but three of the photographs (3, 6, and 8) were in possession of a Richard P. Barr (the 1920 Census shows a 58 year old Richard P. Barr living in Philadelphia working as a "foreman" at the "arsenal") and were used in Frank H. Taylor's 1913 publicationPhiladelphia in the Civil War , which states that the photographs date from 1862. According to Taylor's publication, the eighth photograph in the album depicts "Old Bill" the white warhorse used by General George G. Meade. This has not been confirmed, and is certainly not Meade's famous horse Old Baldy.

The last page of the album has four items related to the Trout family of Philadelphia. The demise of Clinton J. Trout (died on December 14, 1909), his wife Mary E. Trout (died on March 1, 1907), and their son Warner F. W. Trout (died on September 21, 1909) is documented. The connection between the Trout family and the Schuylkill Arsenal is unknown.

The Schoff family carte-de-visite album contains carte-de-visite and tintype portraits of men, women, and children taken in cities such as Rochester, New York, and Ypsilanti, Michigan, in the mid- to late 19th century.

The Schoff family carte-de-visite album (15.5cm x 13cm) contains studio portraits of unidentified men, women, and children, comprised of 19 tintypes and 11 cartes-de-visite. Some of the cartes-de-visite originated in Rochester, New York, and Ypsilanti, Michigan, and one tintype portrait of a woman has a caption etched into the back: "I like this picture best of all." A few smaller tintypes have raised paper borders. The album's brown leather cover has a raised geometric design on the front and back, and the title "Album" is printed in gold on the spine; the volume has two metal clasps, one of which retains its original ornamentation.

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 Schafer Brothers Logging Company photograph collection consists of 18 images related to the business’s logging operations in western Washington State from the mid-1890s to 1940.

The photographs are stored in plastic sleeves and kept in a black vinyl-covered ringed notebook (38.5 x 32 cm). Five of the images are 30 x 35.5 cm while the other thirteen are 20.5 x 25.5 cm. The photographs in this collection detail important aspects of the Schafer Brothers Logging Company’s development as an enterprise. At least four of the photographs were taken by Clark Kinsey. Other attributed photographers include Anderson Photo., Jones Co., H. C. Nelson, E. A. Smith, K. S. Brown, and Stan Spiegle. Certain photographs bearing the stamp of K. S. Brown appear to possibly be copies of other photographers’ work that was reproduced at a later date.

The 30 x 35.5 cm images include the following:

1) Outdoor group portrait of seven men working in the woods in Brady, Washington; photograph by Clark Kinsey, No. 44 (ink signature on verso: Carl A. Schafer)

2) Outdoor group portrait of numerous company employees including many Native American men from the Quinault Reservation; “No. 1 Schafer Lumber Co.”; (ink signature on verso: Carl A. Schafer)

3) Outdoor group portrait of numerous company employees at a company picnic observing logrolling contest; “Schafer Bros. Annual picnic Aug 14 / 27”; photograph by Clark Kinsey, No. 51 (ink signature on verso: Carl A. Schafer)

4) Outdoor view of a 41-ton Heisler geared steam locomotive, the company’s first locomotive, with crew; “Schafer Bros. Logging Co. Brady, Wn.”; photograph by Clark Kinsey, No. 48; (ink signature on verso: Albert Schafer)

5) Outdoor group portrait of 17 log foremen; “Schafer Bros. Log Foreman [sic] # 91”; photograph by Clark Kinsey, No. 91; (ink signature on verso: John D. Schafer)

The 20.5 x 25.5 cm images include the following:

6) Ca. 1899 view of the Schafer family home built in 1895 showing members of the Schafer and Mueller families (related through Anna Schafer’s first marriage) [includes touchups made directly onto the photograph with a marker]; (photographer’s stamp on verso: Copy Negative No. 7470 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

7) Outdoor group portrait of several members of the Schafer, Mueller, and Comfort families with horse-drawn carts, dogs, and homestead visible in background [includes touchups made directly onto the photograph with a marker]; “Old Homestead”; (stamp on verso: Copy Negative No. 7473 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

8) Outdoor group portrait of several men including the Schafer brothers with crew members, two of which are entirely illustrated through negative retouching, and a team of oxen while posing with tools near noteworthy logging harvest; “Aug 21-1901 30 x 84 = 7000 Schafer Bros. Logging Co.”; (stamp on verso: Copy Negative No. 7543 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

9) Outdoor view showing team of oxen hauling trees to the river with Peter Schafer (at right holding goad stick), Roy Gill (at center riding bull), and another individual [includes touchups made directly onto the photograph with a marker]; (stamp on verso: No. 14647 The Jones Photo Co. Aberdeen, Washington)

10) LOCATED BEHIND #9; Outdoor view showing team of oxen hauling trees to the river with Peter Schafer (at right holding goad stick), Roy Gill (at center riding bull), and another individual; “Preacher Slough Sep 6 - 1897 Peter Schafer”; (stamp on verso: Copy Negative No. 7466 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

11) Outdoor view showing August Maas, Peter Schafer, and Hubert Schafer operating one of the company’s first steam donkeys [includes touchups made directly onto the photograph with a marker]; “Schafer Bros. Log Co. on Satsop”; photograph by E. A. Smith; (stamp on verso: Copy Negative No. 7475 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

12) Outdoor view showing a steam donkey railroad operation hoisting and loading logs; (stamp on verso: No. 17371 The Jones Photo Co. Aberdeen, Washington Jun 27 1940)

13) Outdoor group portrait showing in order of appearance from left to right: Hyasman (first name possibly George; Native American), Hubert Schafer, Albert Schafer, Ed Kesterson, Herman Mueller, Ben Kesterson, and John Minkler standing on a logjam in the Satsop River in 1898 [includes touchups made directly onto the photograph with a marker]; (stamp on verso: Copy Negative No. 7474 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

14) Outdoor view showing an enormous logjam on the Satsop River ca. 1907 with a group of workers posing in foreground [includes touchups made directly onto the photograph with a marker]; “Schafer Bros. 3000000 ft. in the River”; photograph by H. C. Nelson; (stamp on verso: Copy Negative No. 7471 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

15) Outdoor view showing lumber staging area on water; “140 Fir Peeler logs selected for wide Veneer or Plywood stock. Schafer Brothers Logging Co. Montesano, Wash.”; photograph by Anderson Photo. ; (stamp on verso: Anderson Photo 119 E. Heron St. Aberdeen, Wash.) (ink signature on verso: Paul A. Schafer)

16) Outdoor view showing large group of people gathered for company picnic; “Schafer Bros. Picnic Everybody Eat”; photograph by Anderson Photo. ; (stamp on verso: Anderson Photo 119 E. Heron St. Aberdeen, Wash.) (ink signature on verso: Paul A. Schafer)

17) Outdoor view of stone monument at entrance to Schafer State Park with large metal plaque that reads: Honoring the Memory of John D. & Anna Schafer Pioneers of 1871 This Park is Dedicated by Their Sons Peter, Hubert and Albert in 1924; “#14”; (stamp on verso: No. 15774 The Jones Photo Co. Aberdeen, Washington Jul 1938)

18) Outdoor view showing a man standing on a dirt path in the woods staring up at the trees; (stamp on verso: Reproduction Rights Reserved by Stan Spiegle Aberdeen, Washington)

These two albums contain photographs of scenery and railroads in Pennsylvania in the 1860s. Workers and buildings are visible in some of the pictures.

These two photograph albums (22cm x 17cm), entitled "Scenery of the Allegheny Mountains" and "Pennsylvania Railroad", are bound in green covers with "Alleghany Mountains Photographic Journal" [sic] stamped in gold on the spines. Volume 1 contains 39 items and Volume 2 contains 47 items, each 12cm x 9cm and mounted directly onto a cardstock page. Volume 1 has a black plate on the front cover with the title "Alleghany Mountains" [sic] and a decorative gold border. A plate pasted into the second volume indicates that photographer was John Moran of 806 Coates Street in Philadelphia, Pennsylvania.

Many of the photographs show scenic views, railroad right-of-way, railroad tracks, telegraph poles, canals, mills, and small settlements. Several photographs of the sky capture clouds. Several images appear to be of the "Horseshoe Curve" on the Pennsylvania Railroad. A group of pictures of a foundry complex show laborers working with mule-driven railroad carts loading rails onto train cars, and one picture shows a group of boys near a track and a town. Other images of note include a photo of a locomotive at a tunnel portal; an elephant on a rural road, a waterfall; a large gravesite or memorial; and a group of monks outside of an unidentified building, possibly a school.

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."

This photograph album contains pictures of mountain scenery and street scenes in British Columbia and Alberta; of rubble and refugee camps taken in San Francisco after the 1906 earthquake; of people relaxing near Long Beach, California; and pictures taken during a hunting trip near Oracle, Arizona.

This photograph album (18cm x 25cm) contains 99 photographic prints taken in British Columbia, Alberta, California, and Arizona in the early 20th century. The album's covers are brown pebbled leather, and the title "Photographs" is stamped in gold on the front cover. Most items have manuscript captions.

A majority of the photographs are scenic views of mountain ranges, lakes, forests, and glaciers in British Columbia and Alberta, including pictures taken in Banff, Alberta; in the Canadian Rockies; and in the Selkirk Mountains. This section of the album also contains views of the British Columbia Parliament Buildings in Victoria, and street scenes in Victoria and Vancouver, British Columbia; a large totem pole is visible in one of the pictures of Victoria. A second group of photographs shows scenes of rubble and refugee tent camps in San Francisco following the 1906 earthquake.

The third group of items consists of photographs taken in and near Long Beach and Los Angeles, California. Groups of tourists are evident in several of these pictures, and some focus on pairs of male travelers. Pictured locales include Eastlake Park in Los Angeles, an orange grove in Redlands, California, and "Follows Camp." These are followed by photographs of desert scenes near Oracle, Arizona, where a group of hunters, including at least one woman, occupied a semi-permanent tent. The photographer captured images of natural scenery such as large cacti, balance rocks, and a box canyon. The final items are a group portrait of young men, identified by a manuscript caption on a note laid into the album; an unidentified mountainous scene; and an outdoor portrait of a girl.

The San Francisco earthquake and fire photograph album contains 29 photographs taken by photographer Arnold Genthe showing the aftermath of the 1906 earthquake in San Francisco.

The San Francisco earthquake and fire photograph album contains 29 photographs taken by photographer Arnold Genthe showing the aftermath of the 1906 earthquake in San Francisco. The album (24 x 32 cm) has pebbled black cloth covers. Images include scenes of billowing smoke over the city being watched by crowds of onlookers; survivors wandering among the ruins; tnets set up in Union Square and Portsmouth Square; the destruction in the city center, between Russian Hill, Telegraph Hill, and Market Street; and wagons removing rubble.

Inside the front cover there is a laid in program for a "Port of Oakland Day Luncheon" held on October 27, 1949, a newspaper clipping regarding Benjamin F. Steacy, and a typed note on "Steacy's Restaurants" stationery stating "This album dedicated to the earthquake and fire San Francisco, April 18 1906. The following pictures were taken by a friend of my dads. Ben F. Steacy April 21 1948."

The San Francisco (Calif.) autograph album contains manuscript inscriptions, portrait photographs, photographs of western scenes, pictures of statues, and reproductions of popular paintings.

The San Francisco (Calif.) autograph album (20cm x 13cm, 180 pages) contains around 125 photographs and prints, as well as manuscript inscriptions. Some of the inscriptions, dated at San Francisco between 1860 and 1888, include brief quotations and uplifting messages, along with the contributor's signature. A few small dried plant specimens are laid into the album. The brown leather cover has a floral design, the word "Autographs," and an illustration of a quill and book inlaid in gold.

The majority of the album's photographic prints are studio portraits of women and, less frequently, men; pencil captions identify many individuals, such as John S. Hittell, an early author of Yosemite guidebooks, and Benjamin P. Avery, miner, journalist, and diplomat. Some photographs are associated with inscriptions and autographs. A number of images are missing. Images include reproductions of popular paintings, and pictures of statues, primarily busts. A number of the paintings are attributed to David Dalhoff Neal.

Of note are views of Yosemite National Park, likely commercially produced stereograph halves; a photograph of a group of men participating in "Hydraulic Washing" in Yuba County, California, published as a stereograph by Lawrence and Houseworth; a view of tourists under giant Redwood trees; the upended tree stump in Mammoth Tree Grove (Calaveras County, California). One view and one portrait carrying the blind-stamp of photographer Carleton E. Watkins and several other views are similar to known Watkins images; at least one (Crystal Lake House) compares to a stereo by Alfred A Hart.

A small number of images are from Europe, showing cathedrals, the view from Trinità dei Monti in Rome, and a view of a waterfall below a village. The majority of the inscriptions are in English, with several in German.

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.

Union College graduate Samuel A. Fitch owned this photograph album, which contains portraits of faculty members and fellow students in the Class of 1860, as well as views of campus buildings and grounds.

This class book (34cm x 27cm) belonged to Samuel A. Fitch, who earned a bachelor's degree from Union College in 1860. The volume's cover, bound in a coarse cloth, has a plate with the title "Sam. A. Fitch. 60. Union College" stamped in gold. Each of the 42 pages has an oval coated salted paper print portrait of a faculty member (11 items) or student (31 items), including Union College President Eliphalet Nott, Professor Laurens Perseus Hickok, and student (and future United States ambassador to the Netherlands) Samuel Richard Thayer. With the sole exception of Nott, each man pictured provided an autograph signature; some also wrote brief messages. Professors' photographs often include subjects taught, degree, and the university or school from which he graduated. Students' photographs often include a note about a student's hometown and his career. The remaining ten coated salted paper print photographs (most around 14.5cm x 20cm), comprised of a portrait of Nott and nine views of campus buildings and grounds, are mounted onto large pages (27cm x 35cm), housed separately from the album.

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 Salomon family photograph album contains 55 photographs of friends, family members, and religious and political figures compiled by the family of Haitian President Lysius Salomon.

The Salomon family photograph album contains 55 photographs of friends, family members, and religious and political figures compiled by the family of Haitian President Lysius Salomon.

The album (30 x 22.5 cm) has embossed brown leather covers, gilt edges, and a metal clasp; it was produced and copyrighted by English firm T. J. Smith, Son, & Co. under the product name “Album Arbora.” A gilt-print index accompanied by a quote from Henry Wadsworth Longfellow on pg. 2 lists the locations of 13 decorative illustrations of various “Flowering Shrubs” found within the album.

Photographs mainly consist of carte de visite and cabinet card studio portrait photographs of various men, women, and children taken between the 1860s and 1880s. Also present is a souvenir from the funeral of a young Frenchman named Pierre Bertagne who passed away in 1925 at the age of 25 (between pgs. 2 & 3; includes a portrait of the deceased). Works of Haitian, French, English, German, Jamaican, Italian, Curaçaoan, Puerto Rican, and American photographers are represented. Black, white, and mixed subjects are included, and most individuals are unidentified. Eight portraits of President Salomon appear throughout the album; also present are photographic reproductions of illustrated portraits of Pope Pius IX (pg. 3), Italian statesman Giuseppe Garibaldi (pg. 7) and Prime Minister of Madagascar Rainilaiarivony (pg. 9) as well as a photographic portrait of Victor Emmanuel II, King of Italy (pg. 10). Numerous portraits of Catholic priests are also included.

Besides Lysius Salomon, other members of the Salomon family that may possibly be represented in the album include his second wife Florentine Salomon (pgs. 11, 15, and loose image between pgs. 40 & 41), daughter Ida Salomon Faubert (loose image between pgs. 40 & 41 and loose cabinet card between pgs. 42 & 43), and grandson Raoul Faubert (ca. 1920s real photo postcard, loose between pgs. 24 & 25).

Several photographs include inscriptions in French. Many of these inscriptions indicate that a photograph was given as a souvenir to either President Salomon himself or to Mrs. Salomon (presumably Florentine Salomon). For instance, on pg. 19 a portrait made in 1882 of a French priest of “Abbé de Aldrovandy” in Paris bears an inscription addressed to “Monsieur le General Salomon, President de la Republique D'Haiti,” indicating that the subject desired to have a fellow priest named Mathieu send this photograph to Salomon upon his death; a second inscription (presumably written by Mathieu) states the gentleman pictured has passed away and that his wish is being fulfilled by the portrait being sent to Salomon. Pg. 21 includes portraits of two women with inscriptions made out to “Mme La Presidant” and “Mde. Salomon” respectively, as well as a portrait of a young black man bearing an inscription in French that translates to: “Gratitude to our respectful and revered Father Le Duc de Saint Lous du Sud, President of the Republic of Haiti.” Also present on pg. 31 is a cabinet card portrait of the President of the Dominican Republic Fernando Arturo de Meriño with a verso inscription in Spanish that translates to: “To his Excellency General Salomon, President of the Republic of Haiti, his loyal friend Fernand A. de Merino Puerto Plata, February 5 1882.”

For conservation and preservation purposes, facsimile reproductions of each photograph have been put in place of the original photographs to replicate the arrangement of the album as it appeared when received. The original photographs are housed separately within the album container.

The Saint Lawrence River photo album contains 33 photographs taken during a vacation in northern New York State including views of the Saint Lawrence River, Lake Placid, Lake George, and Cornell University in Ithaca, New York.

The Saint Lawrence River photo album contains 33 photographs taken during a vacation in northern New York State including views of the Saint Lawrence River, Lake Placid, Lake George, and Cornell University in Ithaca, New York. The album (14 x 20 cm) is bound in a black cloth binding. Images of particular interest include views of a steamboat leaving Clayton, New York, the grounds of the Thousand Island House in Alexandria Bay, views of Wilmington Notch in the Adirondack Mountains, and a picnic scene at Big Rock near Elizabethtown, New York.

The R. W. Butterfield Princeton College Class of 1866 carte-de-visite album, compiled by Roger W. Butterfield, contains studio portraits of various men, women, and children.

The Princeton College Class of 1866 carte-de-visite album (23.5cm x 18cm), compiled by Roger W. Butterfield, contains 198 cartes-de-visite and 3 tintypes. The brown leather cover has gold floral designs imprinted on a raised portion of its cover; the central, sunken part of the cover has the title "Princeton College Class of '66" and the name "R. W. Butterfield" imprinted in gold. The title "Album" is printed in gold on the spine, and the volume has just one of its two original metal clasps. The book has two pages of biographical information about the members of Princeton College's Class of 1866. The photographs are credited to photographers from both the east and Midwestern states.

The vast majority of items are studio portraits of men and women of varying ages, photographed individually, in pairs, and groups. The album includes four outdoor group photographs of young men, presumably students, posed on a lawn, and in front of buildings. Of note is an outdoor photograph of a posed group with guitar, pipes, canes, and two men in shirt sleeves boxing. Many of the photographs are autographed including those of University of Michigan professors James V. Campbell and Thomas M. Cooley. Several portraits of children include one of a man and boy, the man smoking a pipe, and one of three girls, and a commercially produced image of "Rebecca," the emancipated slave from New Orleans. Other cartes-de-visite are pictures of a painted portrait, a statue, Minehaha Falls, and several grave monuments; one lithograph shows an unidentified religious building. One loose carte-de-visite is laid into the album.

The Russell C. Shaul photograph album contains images and ephemera related to the life and career of photographer Russell Clifford Shaul, who owned a studio in Chicago in the 1930s and 1940s.

The Russell C. Shaul photograph album contains images and ephemera related to the life and career of photographer Russell Clifford Shaul, who owned a studio in Chicago in the 1930s and 1940s.

The album (36.5 x 28 cm) has string-bound brown covers with the words "Scrap Book" and a depiction of a boy and girl wearing wooden clogs embossed on the front; the covers and pages are in poor condition. The structure of the album is roughly chronological, with material from the 1920s appearing towards the beginning and material from the 1940s appearing towards the end. However, candid snapshots and studio portraits made in Milwaukee, Wisconsin, in the early 1930s are scattered throughout and mixed in with photos from other periods. At least one page includes dated photos from the early 1930s and late 1940s that appear side by side. Certain names and people reappear often, but exactly how they relate to one another is not entirely clear. Many photographs document people drinking as well as posing in a humorous manner.

Photographer Russell Clifford Shaul appears to have been the compiler of this album. Shaul’s name appears on numerous images as the credited photographer, including portraits taken in Milwaukee in the early 1930s and a Chicago cityscape view from the mid-1940s. Several photos are also inscribed with messages to “Russell,” while snapshots arranged on a page captioned “The Shauls” show him and his third wife Sarah visiting various U. S. tourist destinations between 1944 and 1949. At some point during the 1930s it appears that Shaul relocated from Milwaukee to Chicago and set up a new photography business. Several pages in the album suggest that Shaul and his colleagues practiced door-to-door operations.

Two pages document a man’s World War II service. He is pictured driving a Jeep and wearing a uniform bearing an “Official U.S. War Photographer” patch, training on a shooting range, interacting with people on the streets “In India,” and taking photographs with both still and motion picture cameras. This man appears throughout the album (identified elsewhere as “Carl”), including in the earliest Milwaukee shots in 1927. He may have been Shaul’s friend and/or business partner.

Items placed toward the end of the album include some scrapbook materials including letterheads advertising a company called Chicago Thrill Tours and Chicago-based radio host called “The Nitehawk,” as well as business cards identifying a fellow photographer in Chicago named Charles Lonk and a trailer park in Eau Gallie, Florida.

In addition to the album there is also an envelope containing several loose photographs and ephemeral items including portraits of various people and groups; pictures of people drinking at bars; photographs of the man elsewhere identified as Carl drinking at a Milwaukee bar in 1927 as well as posing in a bathtub while another man bathes him; an image of a photo supply storefront with a cutout of an unidentified man pasted over the front door (possibly shop owner I. Dobkin); photography-related clippings; aerial images of Baton Rouge, Louisiana, taken in 1938; and a portrait by Acme Newspictures of a man in the radio studio of “The Nitehawk - WBBM” captioned “J. W. Clark.” Also present is an enveloped typed letter signed by “The Nitehawk” written to Shaul in 1948 asking him to be on the lookout for early copies of Reader’s Digest.

The Robson family photograph album (14.25 x 19.25 cm) contains 29 snapshots of men and women related to the Robson family in the Missoula, Montana area and Illinois.

The Robson family photograph album (14.25 x 19.25 cm) contains 29 snapshots of men and women related to the Robson family in Illinois and the Missoula, Montana area.

Most of the photographs have inscriptions underneath. 3 loose photographs are tucked in the back pages and do not include inscriptions. An inscription inside the front cover indicates the album was a Christmas gift from Isabelle Cockburn Robson to her nephew, George McPherson, in 1911. Greenough Park in Missoula is featured throughout the album.

Of note are two photographs, one on page 22 of Native Americans standing on a street, and one on page 23 of a crowd listening to former President Theodore Roosevelt give a speech in Missoula.

This album contains photographs taken by the Philadelphia photographic business of Robert Newell & Son in the late 1860s. Images include views of Philadelphia buildings and street scenes; views of Cape May, New Jersey; a few scenes in New York City, studies of tableware; portraits; collages; groups of fire-fighters and equipment; and reproductions of paintings and engravings.

This album (35cm x 27cm, 50 pages) contains 163 images, including architectural views, landscape photographs, portraits, reproductions of paintings and engravings, objects, and commercial advertising displays. The volume, which contains an image of Robert Newell's photographic wagon, an advertising montage made up from images in the album, and an advertising montage for "R. Newell & Son, Artistic Business & Landscape Photographers," may have been used as a sample book for the Newell firm. Many of the photographs are dated in the 1860s, prior to the 1872 date that Robert's son Henry joined the business. The album was in an unbound and fragmented condition when acquired, later reassembled in Mylar sleeves with modern binding by the Clements. The page sequence is based on evidence of the original binding and the contents. Some images appear to have been removed from the album, including a portrait of Boston Corbett, the killer of John Wilkes Booth. Captions in pencil appear to have been added later, possibly by Robert or Henry Newell.

Many photographs are views of individual buildings and streets in Philadelphia including Independence Hall; the Philadelphia Mint; Girard Bank; the Arch Street Theater; plus other commercial buildings, churches, homes, and newly constructed residential areas. Items of interest include photographs of the procession of a visiting Japanese diplomatic delegation; the aftermath of a boiler explosion on Samson Street; canals and locks along the Schuylkill River; a high bridge under construction over a canal; an early oil well; images of commercial products and goods such as silver, cutlery, guns, and a display by importers Field, Langstroth & Co.

Photographic portraits include pictures of unidentified individuals, some likely actors and actresses; a reproduction of a painting of "Bishop Potter;" and a small full-length portrait of the bare-knuckle boxer John C. Heenan. The album also contains photographic montages of United States presidents and Civil War generals; a reproduction of a patriotic painting of George Washington welcoming Abraham Lincoln to heaven; a photograph of "Liberty Indignant" -- a patriotic tableau made up of a woman dressed as Liberty, with a portrait of Lincoln, a flag, and eagle.

The album contains reproductions of unidentified paintings, genre scenes, and engraved portraits. A view of the Fulton Bridge over Broadway may be the only New York City view in the album.

Of particular note are a picture of Robert Newell's photographic cart at Cape May, New Jersey, with a stereo camera visible; several images of vacationers, bathers, cottages, hotels, the railroad office, and an ice cream parlor at Cape May; a rare view of the interior of the Union Volunteer Refreshment Saloon in Philadelphia; a view of a crowd at the "rebel wigwam," the temporary convention hall built opposite Girard College for the first national political convention after the Civil War; and several pages of small images of Philadelphia fire-fighting companies and their equipment.

Of importance in the history of photography is a print from 1865 of what is believed to be the first experiment with indoor flash photography by J. C. Browne, showing a family group in a living room (Taft, pg.202).

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Algonquian Blackfeet

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

Anishinaabe (Odawa, Ojibwa, and Potawatomi)

Approximately 168 photographs in the collection pertain to the Anishinaabe.

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

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

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

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

Apache

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

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

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

Cheyenne

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

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

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

Crow (Apsáalooke)

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

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

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

Ho Chunk (Winnebago)

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

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

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

Kiowa

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

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

Modoc

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

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

Nez Percé (Nimiipuu)

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

Oto

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

Sac & Fox

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

Lakota and Dakota

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

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

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

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

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

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

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

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

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

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

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

Ute

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

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

Photo Albums & Portfolios

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

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

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

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

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

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

Other Items of Note

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 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 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.

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

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

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

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

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

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

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

Volume A:

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

Volume B:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The 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 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 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.

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

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

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

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

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