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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• View of the Grand Republic steamer.

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

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

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

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

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

The Views of Santiago photograph album contains 59 views of Santiago de Cuba taken by professional photographer C. A. Smith including images of hospitals, landmarks, and streets as well as United States military encampments.

The Views of Santiago photograph album contains 59 views of Santiago de Cuba taken by professional photographer C. A. Smith including images of hospitals, landmarks, and streets as well as United States military encampments.

The album (27 x 35 cm) has lost its original cover. The first several pages of the album primarily contain images of the General Hospital and its staff while many subsequent images are of Morro Castle and other battlements, the Palace, the main marketplace, and La Alameda. Also present are images of United States military camps and headquarters as well as a photograph of the Peace Tree/Santiago Surrender Tree.

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

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

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

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

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

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

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

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

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

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

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

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

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

Volume 1:

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

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

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

Volume 2:

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

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

The Wartburg College photograph album contains approximately 70 images of classrooms, young men, and the grounds of Wartburg College in Waverly, Iowa.

The Wartburg College photograph album contains approximately 70 images of classrooms, young men, and the grounds of Wartburg College in Waverly, Iowa.

The album (14.5 x 19.25 cm) has black fabric covers and gray paper pages. Images of note include several photographs of grade school boys in a classroom dated to 1903-1905 as well as views of dormitory, library, and classroom interiors, what appears to be the Cedar River, a campus building under construction, and the college grounds during the winter of 1903-1904.

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

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

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