Collections : [University of Michigan William L. Clements Library]

The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The Admiral William Mead photograph album contains approximately 250 photographs related to the family and career of U.S. Navy Rear Admiral William Whitman Mead.

The album (35.5 x 29 cm) has pebbled covers with partial leather bindings and "Photographs" stamped on the front cover and contains around 250 photographs of various sizes and formats, including collodion, gelatin silver, platinum, silver platinum and albumen prints, cyanotypes, and snapshots. The spine and edges show considerable wear. The photographs chronicle three periods in Admiral Mead's naval career: his time as lighthouse inspector in the Great Lakes, and his assignments as commandant of the Newport, Rhode Island naval base and Portsmouth Naval Shipyard in Kittery, Maine. Additionally, there is at least one photograph towards the front of the album from the Lomaland School in San Diego as well as a series of others mostly located towards the back of the album that were taken in an unidentified tropical location (possibly Florida).

Some of the album’s captions, primarily in beginning and the lighthouse section, appear to have been first added when it was originally assembled and many are partially erased. The majority of captions, however, were contributed at a later date by Admiral Mead’s niece, Annie Adelia Mead Ferguson. Annie appears to have come into possession of the album at some point and added her own annotations identifying people and places she recognized in the photographs. She also added a handwritten note to the inside of the album’s front cover in 1970 indicating that the album had once “belonged to William Whitman Mead” before explaining that she captioned certain images herself and speculating on which of her children might want to inherit the album. It is unclear who originally took many of the photographs, though there are indications that Annie's mother Unadilla Gazlay Mead may have contributed some material. One photograph on pg. 32 shows Unadilla and her husband Omar C. Mead, Admiral Mead’s brother, posing together on a dock in either Portsmouth or Newport while the former can be seen holding a camera in her hands, while on pg. 44 there is a self-portrait taken in a mirror of a woman with a camera that appears to be Unadilla.

The album provides extensive documentation of lighthouses along the shores of Lakes Superior and Huron in the mid-1890s, as well as views from Great Lakes locations such as Duluth, Copper Harbor, and the locks at Sault Ste. Marie. Specific lighthouses represented include Seul Choix Light, Old Mackinac Point Lighthouse, Sand Island Lighthouse, Huron Island Lighthouse, Isle Royale Light, an abandoned lighthouse on Isle Royale, a pair of unidentified lighthouses possibly located in the Keweenaw Peninsula, Windmill Point, a lighthouse in St. Clair Flats, Gull Rock, Stannard’s Rock, Rock Harbor Light, and other unidentified structures. Images related to Admiral Mead’s time at the Newport naval base include portraits of Mead both in and out of uniform, portraits of family members such as Julia Mead, a collotype postcard of Trinity Church, and various buildings and street scenes. Images related to Admiral Mead’s time at Portsmouth Naval Shipyard include views of the Commandant’s house, “The Admiral’s Yacht,” and portraits of various individuals including John W. Yerkes, Elizabeth O. Yerkes, Amelia R. Yerkes, Annie Meade Matthews, Omar C. Mead, and Annie Adelia Meade as a young child. Of particular interest are a number of candid shots of locations and participants in the Portsmouth peace talks that ended the Russo-Japanese War in 1905 (including several photographs of three unidentified Japanese men described as “servants” in one caption) that are present on pgs. 30, 36, 37, and 39. While most of the ships that appear in the album are unidentified, identified vessels include the passenger steamer North Land on pg. 16 and the lighthouse tender Marigold on pg. 23. Other individuals identified by caption include Robert A. Watts (Admiral Mead’s brother-in-law) and Margaret A. Watts (Admiral Mead’s mother-in-law). Also present are three outdoor portraits of unidentified African American men and women on pg. 21 captioned “Those good ole’ days!!” and “Same good ole days!” as well as a cyanotype of an unidentified African American girl on pg. 48.

The Caspar Wistar Miller photograph albums contain approximately 172 photographs stored in two albums that document travels in the western United States, Alaska, and Europe by Philadelphia-area physician Caspar Wistar Miller during the late 19th-century.

Volume 1 (33.5 x 40 cm) has maroon and black leather covers with “Photographs” stamped in gold on the spine and contains 87 photographs related to Miller’s travels in the western United States and Alaska from May to August of 1888. Many images appear to include glass plate negative numbers. Traveling mostly by rail, Miller’s itinerary and layovers can be tracked from the photographs, almost all of which note the date and location. Miller appears to have held an interest in photos of valleys looking first in one direction (“up”) and then the other (“down”), and he also regularly sought out possibilities for bird’s-eye views of towns. The album opens with a photo of a cantilever bridge in Niagara, New York, before documenting Miller’s time in Pullman, Illinois, where he observed the railroad baron George Pullman’s newly built factory town. It is likely that Miller traveled in Pullman railroad cars during this journey. Subsequent images show scenes from Colorado, New Mexico, and California, where Miller spent a month photographing various towns and cities along the Pacific coast before heading into the Northwest. Included are images of the area surrounding the Las Vegas, New Mexico hot springs; street scenes, historic sites, and Native Americans in Santa Fe; and views of buildings, historic sites and natural scenery in Californian locations including Pasadena, Los Angeles, Santa Barbara, Yosemite, Monterrey (including views of the Hotel Del Monte), Santa Cruz, San Francisco, and the Lick Observatory on Mount Hamilton. Images related to the Northwest include a bird’s-eye view of Portland, Oregon, and a series of photographs of acrobats performing in Tacoma, Washington. Also present are a series of images taken in early July 1888 after Miller joined a few dozen other travelers on a three-week Alaskan cruise exploring inlets, harbors, and villages. Alaskan images include a group portrait of Tlingit women and infants; photos showing a grave totem and totem poles at Fort Wrangell; Tlingit men and women selling wares on a wharf in Juneau; views of Juneau and Sitka; a block house in Sitka; the face of Muir Glacier; a Tlingit camp at Pyramid Harbor; a group portrait of officers in command of the sidewheel steamship “Ancon”; and group portraits of fellow travelers posing with various Tinglit items including a chilkat blanket. A newspaper clipping regarding Alaskan totem poles is also included opposite one of the totem pole images. Photographs taken during Miller’s return home include scenes from Port Townsend, Washington; Yellowstone National Park; and Minnehaha Falls in Minnesota.

Volume 2 (28.5 x 39 cm) also has maroon and black leather covers and contains 85 photographs related to Miller’s European travels between May and August of 1892. The vast majority of these images are high-quality commercially-made photographic prints documenting typical tourist attraction subjects such as historic buildings, street scenes, cathedrals and churches, sculptures, and landscape views. Many of these images were likely produced from glass plate negatives that were originally created in the 1870s and 1880s. A small number of half-tone reproduction images clipped from printed sources are also present. Many of the commercially-produced images include captions within the photographs that provide site information and negative or series numbers, while some also contain blind stamps bearing photographer or studio names. The album begins with images of scenes in Le Havre and Paris, France; the two Le Havre-related photographs appear to have possibly been taken by Miller, while the Parisian views were all purchased from the gallery “A Jeanne D’Arc Paris 3, Place Rivoli, 3.” Most, if not all, of the remaining photographs in the album were also purchased by Miller. Subsequent images include views of sites, sculptures, and Alpine scenery in the Swiss locales of Geneva, Vevey, Montreux, La Tour-de-Peilz, Bern, Zurich, Fribourg, Thun, Oberhofen, Interlaken, and Lucerne. Other Swiss-related images include views of the Lauterbrunnen Valley; the Jungfrau; the Lion of Luzern monument; a wall tower and hotel in Zug; a man operating a dog-powered milk cart; and the Rheinfall. Austrian views include scenes from locations such as Innsbruck, Kufstein, and Rattenberg, while German destinations such as Lindau, Munich, Nuremburg, Heidelberg, Frankfurt am Main, Koblenz, and Cologne are also represented. The back-end of the album contains images from Brussels, Belgium, including another photograph of a dog-powered milk cart.

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 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 Ismailia-Damascus pilgrimage photograph albums consist of a three-volume set containing approximately 260 photographs taken during an Ismailia Shriner pilgrimage trip in 1902 to the western United States and an undated expedition overseas to various places in Greece, Egypt, Turkey, Palestine, Syria, Algeria, Lebanon, and Italy.

Volume 1 (23 x 25 cm) contains approximately 98 photographs pertaining to an overseas Shriner expedition to various locations around the Mediterranean Sea region including sites in North Africa, western Asia, and southern Europe. It is unclear when this expedition took place, though it likely occurred ca. 1902. Many of the sites visited by the group are related to biblical stories, events, and personages. Images of particular interest include the Lion's Gate at Mycenae (pg. 1); the Arch of Hadrian in Athens (pg. 3); the supposed tree under which Mary and Joseph rested in the Land of Goshen (pg.8); ruins from a "last stand" made by European Crusaders (pg. 11); the Plain of Sharon (pg. 12); the Great Pyramid (pg. 14); a "Nilo-meter" on the River Nile (pg. 14); an elevated view of Istanbul (pg. 16); a group of Greek Klephts marching in traditional uniforms (pg. 17); Tiberias (pg. 18); a tour boat conducted by guides of Nassaire, Farajallah & Co. (pg. 19); Jerusalem's Damascus Gate (pg. 21); the bell tower on the Mount of Olives (pg. 24); the Monastery of Choziba (pg. 24); the Mosque of Amr in Cairo (pg. 28); ancient Egyptian ruins at Luxor (pg. 30); the public square in Corinth where Paul was said to have preached (pg. 31); Bisharin villagers near Aswan (pg. 34); a waterfront view of Algiers (pg. 35); Pompeii (pg. 36); Job's Wall in Silwan, Palestine (pg. 40); the Bosporus Strait (pg. 41); Haifa (pgs. 43 & 45); Damascus (pg. 46); Ba'labakk (pgs. 47 & 48); and Hotel Fast in Jerusalem (pg. 49). Many but not all of the images have inscribed captions on their versos. A loose cartoonish engraving/etching of a bald man with a moustache wearing Arabic clothing while riding a camel titled "Dr. Walter D. Greene" is also present inside the front cover. The album is string bound in black leather covers with the word "Photographs" embossed in gold on front.

Volume 2 (18.5 x 27.5 cm) contains approximately 98 photographs related to the Ismailia-Damascus Pilgrimage of 1902. Images of particular interest include a cyanotype of B.W. Rowell (pg. 1); a group portrait of the travelling party at the railroad station in McFarlan, Kansas (pg. 5); scenes from Pikes Peak, Colorado (pgs. 7-23); views of the Garden of the Gods (pgs. 24, 25, 28-36 & 38); the Royal Gorge (pgs. 37, 39, 40, 42 & 44); Glenwood Springs, Colorado (pgs. 47-49, 57 & 58); the Mormon Tabernacle and Salt Lake Temple (pgs. 52-54); Monterey Bay, California (pgs. 64-66 & 67); Santa Barbara, California (pgs. 68-71); Mount Shasta and Shasta Springs (pgs. 73-77); natural landscapes in Oregon (pgs. 81-86); and a ferry boat on the Columbia River (pgs. 91-96). The album is bound in red leather covers with the words "Photographs of the Ismailia-Damascus Pilgrimage 1902; Compliments of B.W. Rowell, Imperial Recorder; To Walter D. Greene" embossed in gold on front.

Volume 3 (18.5 x 27.5 cm) contains approximately 63 photographs related to the Ismailia-Damascus Pilgrimage of 1902. Images of particular interest include scenes from Spokane, Washington (pgs. 1-3); geysers at Yellowstone's Norris Basin (pgs. 12-22) and Upper Basin (pgs. 27-36); Yellowstone Lake (pgs. 39-43); Yellowstone's Upper and Lower Waterfalls and Grand Canyon (pgs. 46-51); Shriner Caleb Saunders posing with a haul of fish (pg. 52); and Walter D. Greene posing with his wife Mary L. Greene (pg. 55), an unidentified fellow "manager" of the pilgrimage (pg. 56), and alongside George F. Loder and a man identified as "Gass" (pg. 57). The album is bound in red leather covers with the words "Photographs of the Ismailia-Damascus Pilgrimage 1902; Compliments of B.W. Rowell, Imperial Recorder; To Walter D. Greene" embossed in gold on front.

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

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

Photographs

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

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

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

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

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

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

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

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

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

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

Realia

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

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

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