Collections

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

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

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

The 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 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.

This collection consists of photographs of Boston, Massachusetts, and other New England towns, taken around the turn of the 20th century. The collection includes pictures of commercial and municipal buildings, battleships, and city landmarks.

This collection consists of photographs of Boston, Massachusetts, and other New England towns, taken around the turn of the 20th century. The collection includes pictures of commercial and municipal buildings, battleships, and city landmarks.

Large format photographs show a variety of Boston scenes, including commercial streets and buildings, harbor views, waterfront parks, the USS Hartford and USS New York, a streetcar station and tracks, a horse-drawn firefighting ladder truck, and a crowd waching the launch of an unrigged yacht in Boston Harbor. Buildings depicted include Faneuil Hall, the Jordan Marsh department store, and the U.S. Customhouse. A scene on the Boston Common shows the statue of George Washington being decorated, with a crowd of pedestrians including a Civil War veteran wearing a uniform with medals. Also included is a photograph of the Witch House in Salem, Mass., former residence of Joseph Corwin, a judge at the Salem witch trials; and a collision of two locomotives with a photographer on the scene, possibly staged. The first image (10cm x 14.5cm), an overhead view of Charlestown and the Bunker Hill Monument, is affixed to a wall calendar for the year 1884; all of its removable monthly pages are still intact. The calendar was presented with "Compliments of Annie T. Smith."

This collection is made up of three albums with cabinet card photographs of prominent actors and actresses from the late 19th century, often in costume.

This collection is made up of three albums with cabinet card photographs of prominent actors and actresses from the late 19th century, often in costume. Volume 1 (28cm x 19cm), bound in black cloth with the title "Photographs" on the front, has 48 photographs in windows and one loose item laid in. Volume 2 (23cm x 30cm), bound in thick padded boards covered in dark leather, has 72 photographs in windows and four loose items laid in. This album has a brass clasp with a wheel that increases or decreases the tension of the clasp. Volume 3 (40cm x 30cm), bound in thick padded boards covered in brown leather with two brass clasps, has 99 photographs in windows. At least one card is a lithograph and two cards are hand-colored.

Each of the albums contains portraits of well-known actors and actresses, including both studio portraits and pictures taken in costume in front of painted scenery, sometimes with props. Pictures of men, women, and children are present, with portraits taken both facing the camera and in profile, and some subjects are represented by more than one image. Many types of costume are depicted, such as contemporary and historic formal dress, military dress, Middle Eastern dress, and Elizabethan dress. Some of the photographs show gender cross dressing. Props are most often swords or canes, though some subjects posed with musical instruments such as violins, a piano, and a lute. The majority of the actors and actresses across all three volumes are identified either on the backs of cards, on the albums' pages, or in inventories (housed with the first two volumes).

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

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

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

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915.

The Henry M. Wheeler photoprint collection consists of approximately 719 images of colonial architecture and historical locations in Massachusetts from ca. 1889 to 1915. The collection is mainly composed of 10 x 15 cm silver platinum, platinotype, and gelatin silver prints as well as 15 x 20.5 cm cyanotypes. A couple of manuscript notes are also present. Much of the focus is on eastern Massachusetts, centering on Wheeler’s hometown of Worcester. Photographs show residential architecture from the 17th century, unidentified colonial homes, and contemporary architecture from Wheeler's day and age. Many of the historical structures documented here were in danger of vanishing during Wheeler's lifetime, and many have long since been destroyed. Other photographs show natural landscapes, noteworthy trees, country roads, parks, public and educational buildings, farms, monuments, bridges, milestones, and gravestones as well as images of famous paintings, engravings, and lithographs. Also included are a small number of images related to Washington, D.C., Maine, and New Hampshire. Wheeler likely took the vast majority of these photographs, though there are several instances where he credited the original sources of certain images. The collection materials were removed from the original album volumes they were stored in and have been rehoused in three 3-ring binder albums and three flat boxes. Most photographs also have original reference numbers that were used by Wheeler to organize the collection.

In addition to this finding aid, the Clements Library has created the Henry M. Wheeler Photoprint Collection Inventory. This inventory lists items according to volume/box location and includes references to specific page/mat numbers, image descriptions (most of which are derived from captions originally inscribed by Wheeler on photograph versos), and photographic formats.

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

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

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

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

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

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

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

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

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

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

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

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

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

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)

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The Marguerite H. Voll photograph album includes 87 photographs documenting family activities and various events in Plymouth, Wisconsin, as well as Chicago, Illinois.

The album (28.5 x 35 cm) has black cloth with “Photographs” stamped in gold on the front cover. Images include portraits of the Bade, Schram, and Fiedler families as well as views of parades in Chicago (including a Barnum & Bailey Circus parade), group portraits of the Plymouth Hook and Ladder bicycle team, the Sheboygan County Fair, natural landscape scenes, cars, trains, farming, and photographic reproductions of sentimental art. Of particular note is a portrait of Marguerite Bade riding a floor sweeper as an infant in 1909.

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

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

Volume A:

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

Volume B:

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

The Charles R. Underhill, Jr. collection consists of approximately 103 photographs, 3 letters, and 10 items of miscellaneous documentation and ephemera related to Charles R. Underhill, Jr.’s employment with RCA Photophone, which saw him travel around the country installing motion picture theater projector equipment.

The Charles R. Underhill, Jr. collection consists of approximately 103 photographs, 3 letters, and 10 items of miscellaneous documentation and ephemera related to Charles R. Underhill, Jr.’s employment with RCA Photophone, which saw him travel around the country installing motion picture theater projector equipment.

Many of the photographs present in this collection appear to have once been part of an album or scrapbook which may have been compiled and captioned by Underhill, Jr.’s sister, Marguerite Allare Underhill Goetz (1895-1970). Images of interest include views of numerous movie theaters, street scenes, and landscapes in various locations in Pennsylvania, Kentucky, North Carolina, Tennessee, Maryland, Virginia, West Virginia, and Washington, D.C; photos of P-2 projector equipment manufactured for RCA by General Electric; snapshots of Underhill, Jr. and family members including his parents, wife, and daughter taken in various locations during work-related travels; photos of movie theater managers John M. Bernardi (Roxy Theatre, Williamsport, Pennsylvania) and Paul O. Klingler (Rialto Theatre, Lewiston, Pennsylvania); a portrait of Harold Graffius, projectionist for the Rowland Theatre in Phillipsburg, Pennsylvania; and pictures of several theatre organists.

Additional items include Underhill, Jr.’s projected service schedule beginning June 1, 1935; his service schedule for the month of July 1931; a list of films reviewed by Box Office for the year 1933; an undated letter from Rialto Theatre manager Paul O. Klingler regarding an unknown article that had originally been attached; a letter from Ike Benny of Pastime Theatre in Lewiston requesting Underhill, Jr.’s help regarding equipment issues dated October 9 1930; a letter from W. K. Glodfelter regarding an upcoming local meeting of the International Alliance of Theatrical Stage Employees dated November 9 1931; and a broadside advertising the Rivoli Theatre of Johnstown, Pennsylvania ; posters advertising the McVeytown Theatre in McVeytown, Pennsylvania; an issue of the Charleroi Mail advertising the opening of the 1935 fall film season at the Menlo Theatre in Charleroi, Pennsylvania.

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

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

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

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

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

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

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

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

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

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

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

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

The Grosvenor L. Townsend scrapbooks consist of 7 volumes containing newspaper clippings, photographs, halftone prints, correspondence, ephemera, printed materials, maps, realia, telegrams, and other miscellaneous documents and materials related to the military career of Grosvenor Lowery Townsend.

The Grosvenor L. Townsend scrapbooks consist of 7 volumes containing newspaper clippings, photographs, halftone prints, correspondence, ephemera, printed materials, maps, realia, telegrams, and other miscellaneous documents and materials related to the military career of Grosvenor Lowery Townsend. Newspaper and journal clippings were mainly taken from New York-based publications. Most of the clippings are in extremely fragile condition. Many clippings are coupled with inscriptions indicating the name and date of the publication they were taken from. Numerous photographs also bear inscribed captions. Each volume measures approximately 25 x 19 cm in size and has marbled paper covers.

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, between 1893 and 1894. Items of particular interest include a Grand Army of the Republic report regarding the 7th's service record in the Civil War and during various New York City riots (pg. 1); a group portrait of 7th NYNG Co. D soldiers, including Townsend (figure furthest to the right), at an encampment in Peekskill, New York in June 1893 (pg. 5); clippings related to a mock Civil War battle held at Van Cortlandt Park (pg. 11); clippings related to Townsend's promotion from private to lance-corporal (pg. 13); clippings from the New York Herald and New York Tribune regarding the 7th NYNG relocating to the Seventh Regiment Armory (pgs. 42-45); a group portrait of 7th NYNG members at Sea Girt, New Jersey, in July of 1894 during a visit with New Jersey National Guardsmen (pg. 67); and Townsend's Lance Corporal chevrons (pgs. 92, 93).

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, during 1896. Items of particular interest include an engraving depicting Company D winning a chariot race at the 7th Regiment games (pgs. 28, 29); a New York Herald clipping from May 31st 1896 regarding the 7th NYNG's victory over West Point in a baseball match (pg. 39); an American Lithographic Co. halftone reproduction of a Jay Hambidge painting showing the 7th NYNG marching in uniform titled "For Love or War?" (pg. 43); clippings regarding the new regimental clubhouse at the Creedmoor Rifle Range (pg. 45); a private circular for NCOs regarding a regimental parade in honor of Chinese viceroy Li Hongzhang as well as a halftone portrait of Li (pgs. 46, 47); and cartoons from the 7th Regiment Gazette of December 1896 comically depicting track and field events (pg. 61).

• This volume contains materials related to Townsend's service in the New York National Guard, 7th Regiment, Company D, from 1897 to May of 1898. Items of particular interest include a photographs of 7th NYNG officers and NCOs (pgs. 2, 3); halftone images from a 7th NYNG camp (pg. 7); a New York Sun clipping from October 10th 1897 regarding a mock battle at Van Cortlandt Park replete with a topographical map of the park (pg. 11); a New York Herald clipping from October 10th 1897 showing engravings related to "The Battle of Van Cortlandt Park." (pgs. 12, 13); a Harper's Weekly clipping from October 1897 showing halftone reproductions of paintings related to the mock battle at Van Cortlandt Park (pgs. 14, 15); camp scene photographs from June 1897 including one portrait of Townsend in uniform (pg. 23); halftone images showing interior rooms of the Seventh Regiment Armory (pgs. 25-28); a halftone reproduction of an engraving showing 7th NYNG uniforms from 1802 to 1897 (pg. 33); a halftone reproduction from Harper's Weekly vol. 42 no. 2157 of a painting by T. De Thulstrup showing the 7th NYNG being reviewed by Major General Charles F. Roe at the Seventh Regiment Armory (pgs. 76, 77); and multiple clippings related to the 7th NYNG's decision to refrain from allowing members to individually enlist in the regular US Army at the outset of the Spanish-American War so as not to disintegrate the unit (pgs. 82-91).

• This volume contains materials related to Townsend's service in the 201st Infantry Regiment of New York Volunteers as well as in the US Army 1st Infantry Regiment covering the period from March of 1899 to February of 1900. Items of particular interest include clippings related to Townsend's promotion from Captain of Company M 201st NY Volunteer Infantry Regiment to Second Lieutenant in the US regular army (pg. 5); letters from Townsend to his parents regarding exams he must take at Fort Monroe, Virginia, in order to achieve his promotion (pgs. 8, 9); a picture book containing halftone images from around Fort Monroe (pg. 11); a photograph showing a Fort Monroe examination room black board coupled with text of the example question present on the board (pg. 17); a copy of Townsend's commission as Second Lieutenant (pgs. 22, 23); clippings related to the naval transportation of American troops to Cuba (pg. 33); photographs of various Cuban scenes including an ossuary outside of Havana, Cuban huts and houses, Cuban soldiers being paid, American camps and barracks, a Cuban funeral, Afro-Cubans, underbrush near the mountains, a general view of Pinar del Rio, American military officers and their wives, and American troops in formation (pgs. 36-46, 48-55); a memorandum concerning the administrative use of officers' photographic portraits (pg. 59); photographs showing scenes of Guanajay and Pinar del Rio, Company K rifle ranges, American officers including Lt. McCue, Lt. Tebetts, Lt. Reams, Lt. Beacham, Lt. Wilcox, Dr. Dunchie, and Lt. Reeder, child golf caddies (including a Chinese boy named Ah Soy), a Cuban house being constructed out of palm tree materials, American officers and their wives, a Cuban burial party, soldiers on the march and drilling, an American military graveyard, Cuban ox carts, a railroad station, and churches (pgs. 60-66, 68-82); a clipping including an advertisement for "Mahara's Minstrel Carnival" (pg. 84); and more photographs showing American officers and their wives, Chinese-Cubans, a man posing with a white owl, a well-dressed Cuban man named "Mr. Usavraga", 2nd Battalion shelter camps, American barracks at Guanajay, a group of American officers and several women that includes both Townsend and his mother Emma, the fort at Mariel, a Cuban ship named Alphonso XIII sinking in Mariel Harbor, street scenes in San Antonio and Guanajay, and golf links at Guanajay (pgs. 91-115).

• This volume contains materials related to Townsend's service in the US Army 1st Infantry Regiment covering the period from April 1900 to December 1901. Items of particular interest include photographs showing 1st Infantry Company K assembled in uniform at Guanajay and the aftermath of a major storm at Guanajay, (pgs. 1, 2); clippings related to the potential ordering of the 1st Infantry from Cuba to China as well as Yellow Fever outbreaks among American soldiers stationed in Cuba (pgs. 4, 5); a fragment of an envelope bearing an official stamp from a US military surgeon indicating that the parcel had been "Disinfected and Passed" (pg. 9); clippings from August 1900 detailing the ordering of troops to Manila, Philippines, instead of China (pgs. 13-17); photographs showing various scenes from around Fort Leavenworth, Kansas, including the US Army Disciplinary Barracks (pg. 19-24); clippings from October 1900 regarding the capture and subsequent rescue of Capt. Devereux Shields (pgs. 28-30); clippings regarding the launch of the Samar Expedition and insurgent fighting tactics (pgs. 31-33, 40); photographs showing buildings occupied by American troops in Catbalogan, US Army officers and headquarters at Tacloban in February 1901 (pgs. 40-42); a clipping showing a map of the "Peaceful Districts in the Philippines" highlighting areas deemed unsafe for Americans to venture (pg. 46); photographs showing street scenes, Filipino villages and villagers, and landscape views (pgs. 50-54); a letter and associated hand-drawn map sent by Townsend to his mother describing an ambush against American forces in southern Samar in April of 1901 during which Townsend came under fire from a rifle he believed to have belonged to an American soldier who had deserted (pgs. 55, 56); a letter from Townsend to his mother in April of 1901 describing the visit of a group of Palauan tribesmen and counterinsurgency operations (pg. 57); photographs taken by Townsend of the Palauan tribesmen (pgs. 58-60); photographs from around Guiuan, including the U.S. Army headquarters, a 200 year old church door, Lt. Downes and Townsend's quarters, and images of a church and locals in Mercedes (pgs. 62, 63); clippings related to the death of Lt. Downes and Lt. McClure (pg. 68); a typescript copy of a letter initially sent by Townsend to Capt. Willard C. Fisk from July 1901, which the latter forwarded to Townsend's parents, describing engagements in Samar including one that led to Townsend being stabbed in the forearm (pg. 70); clippings related to the death of Lt. Downes and the Balangiga Massacre (pgs. 71-76); a letter from Townsend to his mother dated Oct 5 1901 describing the Balangiga Massacre and how his detachment were very nearly sent there (pg. 77); Townsend's Second Lieutenant bars (pg. 78); and a clipping describing innovative traps used by the Moros against American soldiers (pg. 79).

• This volume contains materials related to Townsend's service in the US Army 1st Infantry Regiment covering the period from 1905 to September 1907. Items of particular interest include a group portrait showing Townsend, other U.S. Army officers, and several women (including Cornelia T. Getty) standing in front of a house in Canada with snowshoeing equipment (pg. 3); clippings related to Fort Brady and a roster of troops serving in the Department of the Lakes as of August 15th 1905 (pgs. 5-7); clippings related to renewed unrest in China and the shipment of more U.S. troops to the Philippines (pg. 10, 12); clippings related to the transportation of American troops to the Philippines (pgs. 18, 19); clippings related to the celebration of George Washington's birthday at a ceremony in Gibraltar in February 1906 (pgs. 24, 26); a letter from Townsend to his mother from aboard the USS McClellan near Sri Lanka in April 1906 describing the conditions of the ship and the progress of the journey thus far (pg. 36); a typescript summary of Townsend's military career as of July 1906 (pg. 49); panoramic views of Camp Stotsenburg (pgs. 58, 64); a clipping regarding an earthquake in the Philippines in April 1907 (pg. 69); a typescript copy of a memo from September 1907 titled "Regarding the Government of the Philippine Islands With Special Reference to the Subject of Police Protection" (pg. 80); and photographs by Pedro Casanave of the S.S. Mindoro and of "Calle Gen. Hughes" in Iloilo City (pgs. 87, 88).

• This volume contains materials related to Townsend's service in the US Army 23rd and 1st Infantry Regiments covering the period from August 1909 to August 1910. Items of particular interest include a roster of officers and troops on duty at the Army Service Schools, Fort Leavenworth and the US Military Prison as of November 1909 (pg. 5); a studio portrait of Townsend in uniform taken at Fort Leavenworth (pg. 7); a copy of the September 1910 issue of the Infantry Journal by The United States Infantry Association containing an article written by Townsend titled "The Use and Effect of Flying Machines on Military Operations" (pg. 25); clippings related to practice maneuvers at Pine Camp, New York (pgs. 28-39, 49-58); halftone images showing camp scenes at Pine Camp (pgs. 47, 48); and photographs showing Townsend in uniform, Townsend's parents Malcolm and Emma, and what may have been the Townsend family residence (pg. 59).

In addition to this finding aid, the Clements Library has also created the G. L. Townsend Scrapbook Inventory which serves as an itemized list of the contents of each scrapbook.

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

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

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

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

The 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 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.

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

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

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

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

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

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

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

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

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

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

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

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

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

The Augustus J. J. Thibaudeau family photograph album contains approximately 308 photographs and 4 manuscript items related to the family and friends of Augustus J. J. Thibaudeau, a prominent lawyer based in Niagara Falls, New York, and a representative of the Photo-Pictorialist movement in photography.

The Augustus J. J. Thibaudeau family photograph album contains approximately 308 photographs and 4 manuscript items related to the family and friends of Augustus J. J. Thibaudeau, a prominent lawyer based in Niagara Falls, New York, and a representative of the Photo-Pictorialist movement in photography.

The album (26 x 31 cm) has black cloth covers with “Snap Shots” embossed in silver on the front. The 4 loose manuscript items are contained in a Mylar enclosure at the beginning of the album and include two letters from Marie Thibaudeau written to her mother and father while abroad in England in 1923; a booklet made of faux-bark paper containing a watercolor illustration and poem about fishing titled “Stower’s Fish”; and a hand-written recipe booklet containing 18 recipes for various dishes.

Around 111 loose photographs of various sizes and formats are also contained in a Mylar enclosure and mostly include individual and group portraits (both indoors and outdoors), natural landscape views, and images of homes. A small percentage of these photographs have captions on their versos, including some that identify subjects. Of the loose photographs, images of interest include a group portrait of young women at Wellesley College in 1918 during their freshman year; portraits of Marie Thibaudeau, including several showing her posing with her beloved dog Sam-Sam; snapshots taken during a trip to Rome in 1932; and numerous images showing exterior views of houses as well as swimming, fishing, boating, and other outdoor activities taking place near the Thibaudeau family cottage on the Georgian Bay in Ontario.

Approximately 197 photographs are pasted into the album proper. A number of these photographs are partially unglued and in some cases writing on their versos is accessible. The album has many photographs showing waterfront summer vacation scenes from what appears to be different trips to the family cottage over a span of several years; some of these images in the front end of the album have inscriptions on their versos which indicate those photographs were taken in August 1910 by “D.B.” Other images of note include a picture showing a group of young women in a large sleigh with the verso caption reading “Marie Thibaudeau ΖΣΕ Jan, 24, 1912”; a pair of photographs showing siblings Kenneth Fraser Allan and Dorothy Elizabeth Allan when aged 3 and 6 respectively; two group portraits of young men in military uniforms standing in formation; photographs taken at Wellesley College showing buildings, students, campus scenes, large group activities, and a commencement ceremony; two photographs of a biplane mid-flight; and a series of interior views of an unidentified home that appears to have a menorah above the fireplace.

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

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

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

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

The Litchfield-Stryker family photograph album contains pictures of Edwin C. Litchfield's "Grace Hill" residence in Brooklyn, New York; pictures of buildings and scenes in New York State, Florida, the Caribbean, and Bermuda; portraits and views of the property of members of the Litchfield, Stryker, and Hubbard families; and pictures taken camping and hunting. This album belonged to Thomas H. Stryker of Rome, New York, a nephew of Edwin C. Litchfield.

The Litchfield-Stryker family photograph album (34cm x 27cm) contains 52 carefully composed photographs, including 1 cyanotype and 51 albumen prints. The album belonged to Thomas H. Stryker of Rome, New York. Stryker was a nephew of Edwin C. Litchfield whose home, designed by Alexander Jackson Davis, is featured in the album. Primarily dated 1878, the album also includes photographs dated 1879; April 11, 1884; and February 1886.

The first page displays portraits posed outdoors at "Grace Hill" of Edward H. and Grace D. Litchfield; Thomas H. Stryker with two women; and an unidentified woman alone. Grace Litchfield appears wearing a fez and holding a small stringed musical instrument, possibly a machete; Edward Litchfield is shown twice, once posed in a military uniform, once seated in civilian dress. The album features "Grace Hill" and other homes with six exterior views of the large, Gothic Revival residence in Prospect Park, Brooklyn, New York (4 items), a view across "Grace Court" from a second home owned by Litchfield in Brooklyn Heights (1 item), and a stable that Litchfield owned in Brooklyn (1 item). A group of 13 pictures relate to hunting trips by Tom Stryker and Ned Litchfield showing scenic forests, lakes, and pictures of their lean-to, possibly in the Adirondack region. One image shows the two men posed and equipped for winter hunting with snow shoes. Two of three pictures labeled "Virginia" appear to show a drilling or mining operation.

The album contains 15 pictures of scenery, people, and buildings in Saint Croix, Bermuda, and in Florida, including "Hubbard's orange grove, Crescent City." Also shown are photographs of John Stryker's residence in Rome, New York (2 items), "Cooper House" in Cooperstown, New York (1 item), "Hubbard Hall" in Utica, New York, (one exterior view and one interior view showing a grandfather clock), and unidentified scenes and buildings (2 items). "Dash No. 1," a pet dog, is posed in two photographs with hunting gear including pistols, rifles, and snowshoes. An image of a brass plate honoring Reverend Bella Hubbard (1739-1812), first rector of Trinity Church in New Haven, Connecticut, is pasted onto the volume's final page.

Of particular note are the exterior views of the impressive "Grace Hill" property, the early camping and hunting photographs, the view of the "Cooper House" hotel and grounds with well-dressed figures in the foreground; street scenes in Santa Cruz; a fine print of the waterfront in Bermuda; and the pictures of Florida orange production. The Virginia drilling/mining photos may be of importance if identified.

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

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

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

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

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

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

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

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

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

The Camp Funston, Kansas, and Camp Lee, Virginia, photograph album contains approximately 100 photographs related to World War I army training activities and facilities at Camp Funston, Kansas (later Fort Riley); Camp Lee, Virginia; and Fort Myer, Virginia.

The Camp Funston, Kansas, and Camp Lee, Virginia, photograph album contains approximately 100 photographs related to World War I army training activities and facilities at Camp Funston, Kansas (later Fort Riley); Camp Lee, Virginia; and Fort Myer, Virginia. The album (21 x 28 cm) has brown suede covers stamped with a U.S. Army design and is bound with string. Most photographs include manuscript captions on versos. Images include photographs of training activities including bayonet drills, hand-to-hand combat, digging trenches, and practicing maneuvers; Basil M. Stevens standing at the front of African American guard troops; and individual portraits of officers in uniform, autographed and inscribed to Basil M. Stevens. Additional photographs taken in Washington, D.C., show Stevens with military officers and his wife, Helen.

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

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

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

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

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

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

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

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

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

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

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

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

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

The 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 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.

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 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 Albert D. Noble, Jr., glass negatives collection consist of 92 glass plate negatives made by photographer Albert D. Noble, Jr. as well as 33 photographic prints, 2 newspaper clippings, and a computer disk with 180 digital images (including additional photographs by Noble, Jr. and copies of older family portraits).

The glass plate negatives are contained in two boxes and include images of Noble, Jr.'s childhood home in Grand Rapids and other private residences and public buildings in the area as well as views taken in Detroit of Noble, Jr.'s family's Christmas decorations, community ice skating, bicycling in the countryside, rural buildings, and regional parks including Belle Isle Park. The majority of images depict people, activities, and scenes from summer vacations to places like Orchard Lake and Upper Straights Lake; a group visit to the French Lick Springs Hotel in Indiana in 1902; views from the Pan-American Exposition in Buffalo, New York in 1901 (misidentified in Bayard C. Schoettle's publication Glass Negatives: Albert Dewitt Noble, Jr. as an event based in Grand Rapids); and numerous studio portraits of family members, acquaintances, and the noted elocution teacher Edna Chaffee Noble (no relation to Noble, Jr.). The glass plates are in a variety of sizes (16.5 x 21.5, 12.5 x 20.5, 11.5 x 16.5, and 10 x 12.5 cm) and each is stored in individual paper slipcases. Some but not all of the splipcases provide information regarding an image's subject matter. Most of the plates are in good condition, with only a few displaying cracks and none being broken. 33 photographic prints (31 unmounted and 2 mounted) are also present and include an image of several cows near a body of water, two mounted albumen prints of "Orchard Lake Cottage," two silver platinum prints showing an unidentified house and a sailboat, 16 unmounted gelatin silver prints showing various domestic, industrial, social and architectural scenes (most of which are represented in the glass negatives), and a series of 11 unmounted snapshots and 1 negative transparency showing scenes from Roseland Park Cemetery and the gravesite of Edna Chaffee Noble. Two newspaper clippings from the July 16 1899 Detroit Free Press Art Supplement related to Noble, Jr.'s second place finish in a photo competition are also included.

The CD-R accompanying the collection contains about 180 scanned images including all 92 of the glass plates present in the collection, approximately 75 additional photographs produced by Noble, Jr., and several photographs of trophies awarded to Noble, Jr., by the Grand Rapids camera club. The CD-R also includes images of early Noble family portraits that were scanned and retouched by Schoettle during his preparation for Glass Negatives: Albert Dewitt Noble, Jr.

The Mary Schluchter postcard album contains 60 postcards in a souvenir album. A majority of the postcards were sent to Mary Schluchter of Pigeon, Michigan from both friends and family between 1906 to 1914.

The Mary Schluchter postcard album contains 60 postcards in a souvenir album. A majority of the postcards were sent to Mary Schluchter of Pigeon, Michigan from both friends and family between 1906 to 1914. Much of the content consists of statements of arrivals, wellbeing, and letters to come. A few postcards consist of gossip among friends. The three most frequent senders are Harvey Schluchter (Mary Schluchter's eldest brother), Anna (referred to as a cousin), and Lillian (relation to Mary Schluchter unknown). The postcards were primarily sent from cities throughout Michigan, including Detroit, Saginaw, and Ann Arbor. Other postcards originate from New York, Ontario, Ohio, Illinois, and Minnesota. The postcard images show monuments, nature, and cityscapes from these locations.

The album is 21 x 14 cm with black cloth covers. "Souvenir Cards" is stamped on the front cover in gold.

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 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 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.

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

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

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

The 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 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.