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

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

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

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

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

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

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

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

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

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

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

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

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

Volume 1 (1942-1943)

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

Volume 2 (1949)

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

Volume 3 (1949-1950)

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

Volume 4 (1950-1951)

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

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

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

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

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

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

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

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

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

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

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

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

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

Photographs

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

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

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

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

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

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

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

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

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

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

Realia

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

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

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

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

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